Vampire Hunter D -- The Movie
by Kenny Rutter
Summary: Based on the first book in the series. After being attacked by a vampire, a young woman enlists the aid of a drifter - who himself is half-vampire - to rid her of the undead menace. Rated M for intense sequences of violence and gore, strong language, nudity and some disturbing images.


**VAMPIRE HUNTER D**

**PLOT SUMMARY:**

**After being attacked by a vampire, a young woman enlists the aid of a drifter - who himself is half-vampire - to rid her of the undead menace.**

**SCREENPLAY BY:**

**Kenny Rutter**

**BASED ON THE BOOK "VAMPIRE HUNTER D" BY HIDEYUKI KIKUCHI**

The screen remains black as a narration begins.

D (V. O.)

Humanity's leaders finally turned their weapons upon each other.

There's a FLASH OF LIGHT as a nuclear bomb goes off over a major city. The shockwave shatters windows and the force of the explosion is enough to completely destroy some buildings as a massive mushroom cloud rises into the sky.

EXT. - CITY STREETS. DAY.

It's a scene of complete anarchy as hundreds of people are fighting in the streets with all sorts of weapons - it's an all-out war.

D (V. O.)

War ensued, and the population of the human race continued to dwindle as more and more died off.

EXT. - WASTELAND. NIGHT.

Someone is holding another person in his arms; we can't see who these people are, though it's clear that one of them is dead.

D (V. O.)

With humanity on the brink of extinction, the world needed new masters. These masters came from a world once thought to be myth and legend.

One of the people - the one holding the dead person - looks up. His mouth is covered in blood from biting down on the dead person's neck, and there's a pair of fangs jutting out of the corners of his mouth.

D (V. O.)

The vampires.

EXT. - CITY. NIGHT.

The city looks like it had just been rebuilt. People are out and about, but these aren't ordinary people - these are vampires.

D (V. O.)

They claimed the world as their own and the surviving humans became their servants. As such, the vampire lords dubbed their race the Nobility, and ruled for ten thousand years.

DISSOLVE TRANSITION -

The city is now falling into ruin and disrepair. Several of the buildings are being overtaken by moss and foliage - those that haven't completely fallen apart, that is.

D (V. O.)

But as with all great races, the Nobility, too, began to die off, giving humanity a second chance.

EXT. - WASTELAND. NIGHT.

A vampire is running away from something; we can't see what it is, though.

D (V. O.)

But the vampires and the beasts they created continued to roam, giving rise to a special group of humans.

Something comes through the vampire's chest from behind - the point of a rough wooden stake. The vampire falls to the ground, and its body begins to turn to dust.

D (V. O.)

They were the Hunters. And there was one Hunter who was feared by all.

Fade out.

Fade in.

EXT. - EST. - GRASSY FIELD. NIGHT. 12,090 AD.

A young woman, Doris Lang, is slowly making her way through the tall grass. She's armed with an old fashioned muzzleloading musket and resting on her right hip is a coiled whip.

She stops, looks, and listens.

ANOTHER ANGLE.

She's finally spotted her quarry. It looks like a small, wingless dragon. It's hungrily chewing on the carcass of a cow.

Back on: Doris.

She raises the rifle to her shoulder, aims at the dragon, pulls back the hammer, and gets ready to fire.

The CLICK of the hammer gets the dragon's attention. It looks over to Doris and roars, before turning and running towards the woods. Doris FIRES; her shot misses.

DORIS

Shit.

She quickly reloads, then starts running after the dragon. As she runs, she puts two fingers in her mouth and whistles.

ANOTHER ANGLE.

A white horse comes galloping over to her. Doris grabs hold of the horse's reins and climbs up onto the horse's back.

Quick cut to:

EXT. - FOREST. NIGHT.

The horse has caught up with the dragon. Doris takes aim at the dragon again - it's not an easy thing to do while on the back of a galloping horse.

DORIS

Steady. Steady.

She finally has a good bead on the dragon, and she FIRES. The round tears through the top of the dragon's head, blasting a hole through its face and causing it to fall to the ground.

ANOTHER ANGLE.

Doris pulls back on the horse's reins, bringing it to a stop. She climbs off the horse's back and pokes the dragon with the tip of her foot. It appears to be dead.

Suddenly -

The dragon SPRINGS TO LIFE - it was only playing possum - and digs its teeth into the horse's neck. It tears out a huge chunk of flesh, and the horse falls over dead.

Back on: Doris.

She quickly reloads and shoots the dragon again. This round tears through its neck, dropping it to the ground again. Doris takes out a knife and slits the dragon's throat, ensuring that it doesn't get up again. She stands, puts the knife back in the sheath around her ankle, and looks over at her horse.

DORIS

Perfect. Looks like I'm walking.

She reloads the gun again before setting off.

Quick cut to:

EXT. - FOREST TRAIL. NIGHT.

Doris is slowly walking down the trail, going slowly since she can't see that well in the dark. As she walks, there's the sound of disembodied footsteps. She stops, and the disembodied steps stop as well. She turns around and raises her rifle.

DORIS

Who's there?

But there's no one to be seen. Doris lowers the rifle.

DORIS

I must be imagining things.

She turns to continue walking, and this time, there's someone standing on the trail. We can't get a good look at him in the dim light. Doris raises her rifle and aims at him.

DORIS

Out of the way.

The man doesn't move, so Doris fires at his feet. Still, the man doesn't move.

And then, he starts to speak.

LEE

Permit me to introduce myself. I am Count Magnus Lee, at your service, and since you have seen fit to take it upon yourself to trespass into my domain, I must ask for payment.

He slowly starts walking over to Doris.

Fade out.

Fade to:

EXT. - WASTELAND. DAY.

There's the remnants of a previous civilization all around - the rotting skeletons of abandoned vehicles, the foundations of old buildings, a street sign that's totally rusted through, etc. There's all sorts of creatures calling these places home; some are familiar, like dogs and cats, but others look like monsters that have leaped out of a nightmare.

They all retract into their holes as a lone horseman rides past. This man is dressed totally in black - black boots, black pants, black shirt, black overcoat, black hat, black scarf (covering the lower half of his face), black gloves, a blue pendant around his neck, and slung over his back is a long sword.

He comes across Doris, who's standing in the middle of the road - there's another white horse off to the side of the road - and she's wearing nothing but a brown robe and a scarf around her neck, and she's holding her whip in her right hand. The drifter brings his horse to a stop.

DORIS

Drifter! I take it you're a Hunter for hire?

The drifter doesn't answer.

DORIS

Well, say something! You can talk, can't you?

The drifter still doesn't talk. He just stares at her, seemingly without emotion.

DORIS

Fancy sword you're carrying, friend. Is it just for show? Or do you actually know how to use that thing? Not like it matters to me. Leave it on the ground and I'll let you be on your way. I'm sure it'll fetch a hefty price at the market.

She cracks her whip, trying to intimidate the drifter. Still, the drifter doesn't move, doesn't speak, doesn't do anything. It's almost like he isn't afraid.

DORIS

What's the matter; not afraid of a woman?

She swings her whip at the drifter's head. He quickly moves his head to the side; the whip misses. Doris swings the whip at his head again, and again, he moves slightly out of the way.

DORIS

My God, you're quick.

She swings her whip again, this time aiming for the drifter's shoulders. The drifter leans back slightly. The whip just barely goes past his face.

DORIS

You're really beginning to piss me off, pal.

The drifter spurs his horse forward. He goes right past Doris. She turns to follow him.

DORIS

I'm not done with you yet.

The drifter brings his horse to a stop and glances back at Doris.

DORIS

Perhaps this will persuade you.

She undoes her robe and lets it fall off her naked body. The only piece of clothing she's wearing now is the scarf around her neck.

DORIS

Now, let's try that again.

ANOTHER ANGLE.

She swings her whip at the drifter again. This time, the end splits into several strands and wrap themselves around the drifter's wrists, elbows, knees, ankles, waist, and neck.

DORIS

Last chance to drop your sword before you drop dead.

The drifter still doesn't reply. Doris gives the end of the whip a good tug. But rather than shredding the drifter to pieces, the ends of the whip holding him come loose, causing Doris to fall to the ground.

Back on: The drifter.

He spurs his horse on again.

DORIS

Wait!

She quickly puts her robe back on and hurries to catch up to the drifter. She puts a hand on his horse, stopping it.

DORIS

I'm sorry. I shouldn't have attacked you without just cause; I'll admit, I was in the wrong. But please, hear me out. I've been out here for five days, waiting for a Hunter to come by. And here you are. You ARE a Hunter, aren't you? Better yet, a Vampire Hunter. Please, I want to hire you.

For the first time, the drifter speaks - his voice holds absolutely no emotion.

D

You shouldn't joke about something like that.

DORIS

You really think I'm joking? You think I'm making this up? Here, look at this.

She undoes the scarf around her neck. At the base of her neck, just above her shoulder, is a pair of puncture marks.

DORIS

You see that? That's the Kiss of the Nobility.

ANOTHER ANGLE.

The drifter climbs off of his horse and examines Doris's wound closer. He takes the scarf off of his face; he looks like he's a young man just barely in his twenties, yet there's something else about him. Something different.

D

How long has it been since you were attacked?

DORIS

So, you really are a Vampire Hunter?

D

How long ago?

DORIS

Five days ago. Like I said, I've been out here ever since, waiting for someone like you to come along to help me.

D

I never agreed that I would.

DORIS

I know. And if you agree, don't worry about payment.

D

Are you aware of the fees a Vampire Hunter asks?

DORIS

I know. $500 a day minimum. I can't offer you that much in money, but I can offer you three meals a day, a roof to protect you from the elements, and if you want, you can even sleep with me.

ANOTHER ANGLE.

D climbs back onto his horse.

D

Perhaps you should continue to wait. In another day or two, another Hunter may come along. I'm sure waiting a bit longer or joining the ranks of the Nobility will be better than bedding with the likes of me.

DORIS

The hell it will! You don't know the torture I've been through these past five days. So, do you take the job or not?

D's silent for a moment before responding.

D

There's one more thing you should know about me, and I ask that you take it into careful consideration.

DORIS

What's that?

D

I'm a dhampir.

**NOTE: DHAMPIR = HUMAN/VAMPIRE HYBRID.**

Doris is taken aback by this news, but quickly regains her composure.

DORIS

That's fine by me. My name's Doris Lang.

D

Call me D.

DORIS

Welcome aboard, D.

She climbs onto her horse.

Cut to:

INT. - FARMHOUSE. EVENING.

A little eight year old boy, Dan, is sitting on the floor playing with some marbles. There's the sound of hooves galloping on the ground. He stands up and looks out a nearby window.

DAN

Finally, she's back.

He hurries outside, just as Doris and D arrive.

DAN

Welcome back, Sis.

DORIS

Hi, Dan.

Dan finally spots D.

DAN

You said you went out looking for hired help, not boyfriends.

DORIS

Be quiet, Dan.

She and D dismount from their horses.

DORIS

This is Mr. D. He's going to be helping us out around the farm for a little while. So I expect you to show him the proper respect.

DAN

You got it, Sis.

(to D)

Nice to meet you, Mr. D. I'm Dan.

D

Pleasure.

DAN

Here, let me help you with your horse.

Dan takes the reins of D's horse and leads it to a nearby stable.

Cut to:

INT. - FARMHOUSE - DINING ROOM. EVENING.

The three of them are sitting around the dining room table. Their plates are filled with all sorts of meats and vegetables. While Dan and Doris are almost finished with their meals, D looks like he's barely touched his.

DAN

You don't talk much, do you, D? Dr. Ferringo in town says that there's two types of people who don't talk a whole lot - people who are too busy planning something evil to talk or people who think that their actions speak louder than their words. I don't know why, but something tells me you're in the second group.

D

Is that really what you think?

DAN

Yup. That's a nice horse you've got. It looks really strong. And I couldn't help but see your sword. I bet you've slain a lot of monsters on your travels. Have you? How long have you been travelling? Where's your home? Are you coming from far away? Have you ever been to the Capital? What's it like?

DORIS

That's enough questions, Dan. Stop pestering D.

DAN

I'm not pestering him, Sis. I'm just asking him questions.

D

He's young. And inquisitive.

DORIS

And it's time he got to bed.

DAN

But, Sis, I'm not tired.

DORIS

Bed, Daniel!

Dan clenches his fists and glares angrily at her.

DAN

Don't call me Daniel!

He storms off and angrily slams the door to his bedroom.

DORIS

Sorry about that. My little brother can be such a pain in the ass sometimes.

D

I don't mind.

DORIS

Here, I'll clean up this mess.

She starts putting dishes away. As she's doing that, D heads into the living room. The first thing he notices is the sword and pistol hanging on the wall. He takes the pistol off of its rack, ejects the magazine, and opens the chamber. A bullet flies out of the chamber; he catches it and puts it in the magazine.

DORIS

I see you've noticed my father's stuff.

D

Was he a Hunter?

DORIS

The finest Werewolf Hunter in the area. That is, until his death four years ago. He taught me some of his tricks of the trade.

D

That would explain your skill with a whip.

He puts the magazine back into the gun and places the gun back on the rack, before heading over to a nearby window.

D

Tell me more about the vampire.

DORIS

His name's Count Magnus Lee. He's ruled over this sector of the Frontier for...well, forever. There are stories that he's three thousand years old, others that he's ten thousand - and no one knows which one is true.

D

Ten thousand years old? He must be a Noble of some rank. Has he come back to visit you since the initial attack?

DORIS

No, thank God. But I've been waiting up each and every night for him to show his ugly face so I could put a stake through his heart myself.

D

And the last attack was five days ago?

DORIS

Yeah. Why? Is that bad?

D

The normal period of time between attacks is three days. On rare occassions, maybe four. That's assuming the vampire hasn't drained his victim dry on the first feeding. The fact that my quarry hasn't come after you in five days is extremely rare, almost unheard of. It must mean that he's taken a liking to you.

DORIS

Well, the feeling's not mutual.

She joins D at the window. He's looking up at the full moon.

D

He hasn't attacked in five days, which means that he'll be here tonight. Any moment now he will be arriving.

DORIS

Tell me what you want me to do, D, and I'll do it.

D turns to her.

D

There's nothing you can do, Doris.

DORIS

Bullshit. I can go check on the crosses and lines of garlic I've put up around the farm.

D

The Nobility have bodyguards - werewolves and the mutants they hire from Barbarois. They remove such charms and are immune to the effects of garlic.

He takes off the glove on his left hand.

D

I want to avoid you falling under any hypnotization the Count may put you under, Doris, so I'm going to put you into a deep sleep.

DORIS

What?

D reaches out to her shoulder. As he does, we catch a glimpse of something resembling a human face on the palm of his hand.

DORIS

D, what's -

She doesn't get the chance to finish her sentence; as soon as D's hand touches her shoulder, she's immediately knocked out cold. D just lets her fall to the floor. He puts the glove back on his hand, then heads over to a circuit box on a nearby wall. He flips a switch.

D

That should take care of the fence.

Cut to:

EXT. - FARMLAND. NIGHT.

A horse-drawn carriage stops just outside of an electric fence. The carriage driver urges the horses on. The horses plow through the fence, splintering the wood.

ANOTHER ANGLE.

D comes out of the house and steps down the steps of the porch. He stops a few yards from the horses as they, too, come to a stop once again.

The carriage driver leaps down from the seat and opens the carriage door. He steps to the side and bows down. A slender leg comes out of the carriage.

D

(confused)

A woman?

Indeed, the occupant of the carriage is a gorgeous young woman wearing a lovely white dress. We can just barely see the tips of fangs poking out from the corners of her mouth - she's a vampire. She eyes D for a moment before speaking.

LARMICA

I was told that there was a girl at this farm, a young woman of utmost beauty and with the most delicious blood, but I see now that she is not so different than the other lowly humans of the world. And you...Might you be some manner of bodyguard?

D

My quarrel is not with you, girl. I have business with the Count; take me to him.

LARMICA

You percieve to give me orders, you insolent rogue! Do you not know who I am? I am Larmica Lee, daughter of Count Magnus Lee who rules this sector of the Frontier. You will do well to remember it, boy. That is, of course, if my friend allows you to live.

She addresses the carriage driver.

LARMICA

Garou, eviscerate him.

GAROU

By your command, My Lady.

(to D)

You forget your place. And as Lady Larmica so asks of me, I shall teach you the error of your ways.

He begins to change. His body grows much more muscular than he already is, and fur begins to grow on his arms, torso, legs, and face. A dog-like snout grows out of his face, and dog-like ears grow out of the top of his head.

ANOTHER ANGLE.

Garou has TRANSFORMED INTO A WEREWOLF!

He CHARGES for D. D doesn't make any attempt to get out of the way. Instead, he waits, and when Garou is close enough -

D takes out his sword and SLASHES at Garou. The tip of D's blade slices into Garou's chest. Garou recoils in pain, but only for a second. He comes at D again, this time leaping up and preparing to dig his claws into D's skull. D casually moves out of the way and swings his sword again. This time, he slashes open Garou's inner thigh.

Garou falls into a row of rosebushes. He covers his wounds with his hands, trying to stop the bleeding.

Back on: D.

He flicks blood off of his sword.

LARMICA

Impressive. Even the most skilled of Werewolf Hunters have fallen victim to Garou's attacks. But not you.

D

You have seen my skills. Now, move aside and let me do battle with your father.

LARMICA

Who do you think you are, you insolent -

She stops and sniffs.

LARMICA

That scent. You have the blood of both humanity and the Nobility flowing through your veins.

Using his free hand - his left hand - D takes a wooden stake off of his belt and throws it at Larmica, so hard that it actually looks like it's catching fire from the friction in the air. The stake's aimed right at Larmica's chest.

Larmica catches the stake just before it reaches her chest and in one swift motion, throws it back at D. D catches it and puts it back on his belt.

D

I see that you, too, are a vampire of some rank. Now, take your servant and begone. Tell your father that he is to no longer target the inhabitants of this farm, and tell him that the Vampire Hunter D is coming for him.

LARMICA

My father is not one to be bested by a mudblood dhampir. Garou, to me.

ANOTHER ANGLE.

Garou picks himself up out of the bushes and begins to change back to his human form as he runs towards the carriage. He opens the carriage door.

GAROU

Hurry, Milady.

Larmica starts to climb into the carriage. She stops and turns to face D.

LARMICA

The night belongs to you, half-breed, but you shall feel the wrath of the Nobility soon enough.

Garou shuts the door behind her, then leaps up into the carriage seat. With a flick of the reins, the horses turn around and gallop off into the night. D just watches them leave. He puts his sword back in its sheath.

Fade to:

INT. - FARMHOUSE - DORIS'S BEDROOM. MORNING.

Doris is now sleeping on her mattress. She slowly wakes up.

DORIS

What...?

She sits up and looks around.

DORIS

(gasps)

D!

INT. - FARMHOUSE - LIVING ROOM. MORNING.

D's lying on the couch against the wall. Doris comes out of her room and looks over to him.

DORIS

D, you've done it!

D

Merely doing my job. Though it was not the Count who visited last night, but his daughter and their werewolf servant. You are safe yet another day. Though your fence could use some repairs.

DORIS

No big deal. I'll worry about the fence later. Right now, how about some breakfast?

D

Perhaps you should take care of your visitor first.

DORIS

Visitor?

A horse whinnies outside. Doris goes over to the window and opens the curtains. A horse is outside, along with its rider - a man slightly older than Doris, but only by a few years and holding a bouquet of flowers.

DORIS

What the hell does he want now?

Quick cut to:

EXT. - FARMHOUSE. MORNING.

Doris comes out of the house, but doesn't leave the porch. She's now got her whip in her hand.

DORIS

What do you want, Greco? I happen to remember telling you to stay away from here.

GRECO

I come out here all worried about you, and that's the thanks I get?

DORIS

You were worried?

(sarcastically)

Well aren't you sweet.

GRECO

Rumor has it you've been looking for a Hunter for hire. Why; you didn't get bitten by the Count, did you?

DORIS

And what would compel you to say something like that?

GRECO

Hey, take it easy. It's just, I heard it from some guy in the pub last night. Said he got his ass kicked a day or two ago by a girl who, by description, sounds a lot like you.

DORIS

Well, can you blame me for trying to hire someone? You wouldn't believe how much damage the mutants and monsters cause out here on a daily basis. Not just here, but in town, too.

GRECO

Really? Well, if that's the case, then why didn't you just talk to Old Man Cushings? You know that he's the one who puts out all those ads and such for new talent.

He eyes the scarf around her neck.

GRECO

What's with the scarf? It's the middle of summer.

DORIS

That's none of your business, Greco. Don't worry.

GRECO

Can't help it. Take it off.

Doris doesn't move.

GRECO

You can't, can you? Shame. Now, why do you suppose that is? Let's say I were to go into town and have a little chat with a certain someone, tell them you've been preyed upon.

DORIS

You wouldn't.

GRECO

I've got a lot of pull in town, being the mayor's son and all. And if you were to marry me like I've been wanting, you'd be the mayor's daughter-in-law, and no one could do anything about it. What do you say?

Doris cracks her whip. The tip of the whip hits the horse's flank, causing it to rear up. Greco falls from the saddle and lands hard on his ass. The horse turns and gallops away.

DORIS

There's my answer. I don't care if you are the mayor's son, and I don't much care for him.

GRECO

When my old man hears about this -

DORIS

That's just like you, Greco; running and hiding behind your daddy when things don't go your way. Why don't you bring him and your little crew out here next time? I won't run and hide, and when you come along this way again, you'd better be damn ready to have me fillet you, you little prick.

Greco stands up. He reaches for the revolver at his waist.

GRECO

You fucking bitch!

Doris cracks her whip again. The whip knocks the gun out of Greco's hand. It lands in the bushes nearby.

DORIS

Next time it'll be your nose, or maybe one of your ears. How's that sound?

Greco slowly backs away.

GRECO

I'll be back, mark my words.

Doris watches as he runs off. She coils the whip up and straps it to her waist.

ANOTHER ANGLE.

She turns to head back inside, but is stopped by Dan. The poor kid looks like he's on the verge of tears.

DORIS

(surprised)

D - Dan? Did you just hear all that?

DAN

Doris, you weren't really bitten by a vampire, were you?

DORIS

Dan, I -

Dan runs over to Doris and hugs her.

DAN

That's not true, it's not!

DORIS

Of course it's not, little brother. These are...bug bites on my neck. I just didn't want to worry you; that's why I'm wearing this scarf.

DAN

Really?

DORIS

Of course. Would your older sister lie to you?

DAN

No, I guess not. But you know everyone in town's gonna believe Greco's lies.

DORIS

So what? If they come out here looking to take me to that asylum, they're gonna have one hell of a fight on their hands. From me, you -

DAN

Don't forget about D! I'm gonna go talk to him about this.

DORIS

Dan, wait!

Too late; he's already gone inside.

DORIS

Oh, boy.

She follows Dan inside.

INT. - FARMHOUSE - LIVING ROOM. MORNING.

D's now sitting on the sofa. Dan's sitting next to him.

ANOTHER ANGLE.

Doris comes into the room as Dan finishes speaking.

DAN

And they're gonna try and take her away. You've got to help us, D.

D's quiet for a second.

D

Leave it to me.

DAN

Yay!

DORIS

Um, Dan? Can you do me a favor and go check the generators in the barn? Make sure they're still running, and if they need fuel, fill them up.

DAN

Sure thing.

He hurries outside. Doris takes his place on the sofa next to D.

DORIS

Thank you.

D

I only said what he wanted to hear.

DORIS

I know. Hunters aren't supposed to get involved in any, well, let's just say extra ciricular activities that don't involve their quarry. But at least you didn't hurt Dan's feelings. We've only known you for less than twelve hours, but he's already taken a liking to you.

There's no reply from D.

DORIS

I won't ask any more of you, D. I know you're focused on just doing the job, and no more than that.

D stands up and heads into the back room.

INT. - FARMHOUSE - BACKROOM. MORNING.

D takes something off of his belt. It looks like a pill bottle. He opens it takes out two red pills. After closing the bottle, he pops the pills into his mouth.

Cut to:

EXT. - FARMLAND. DAY.

A dozen horsemen come galloping up to the farmhouse. They come to a stop. Among the horsemen are Greco, his father the mayor, Sheriff Dalton, and Dr. Ferringo.

MAYOR ROHMAN

Doris Lang, come out here!

ANOTHER ANGLE.

Doris and Dan come outside. Doris has her whip, and Dan's got the old fashioned rifle Doris was using before.

DORIS

This is just a tiny no-account farm; you didn't have to bring out the whole damn town. So, what's your business?

MAYOR ROHMAN

Don't play innocent, Doris. We're here because of what you've got under that scarf. Now, if you'd be so kind as to let Dr. Ferringo have a look. It's nothing personal, but if indeed it turns out that you've been bitten, we'll have to put you in the asylum.

DORIS

You actually believe your bullshit-spouting son, don't you? He's just sour because I've turned down his marriage proposal a few times. Is it any wonder he keeps spreading false rumors about me? And then you show up at my door thinking the same thing - that I've been attacked by a vampire. Keep spouting filth like that and see what happens.

DAN

That's right! My sister wasn't attacked by a vampire. So get lost, you old pervert.

MAYOR ROHMAN

What did you say to me, you little bastard?!

GRECO

Enough of this. Let's just grab them. Come on, boys.

Greco and a few other members of the mob get ready to move forward, but the sheriff stops them.

SHERIFF DALTON

Hold it right there. You pull any stunt like that and you'll have to answer to me. Understand?

DORIS

Why are you defending me, Sheriff? Aren't you with them?

SHERIFF DALTON

Understand something, Doris. As sheriff, I've got a job to uphold the peace here in Ransylva. And that includes dealing with the victims of vampire attacks. I don't want things to get out of hand, so just let the doctor have one quick peak, and we'll be out of your hair. Promise.

DR. FERRINGO

He's right. You can trust me, Doris.

DORIS

Yeah, I can trust you, Doc. It's these other kooks I'm leary of.

GRECO

Just grab her ass and toss her in the asylum, Sheriff. We can figure out where to go from there!

SHERIFF DALTON

You shut up! You know that's not how we do things around here.

GRECO

Put a badge on a man and he acts like he's tough shit.

MAYOR ROHMAN

Stop it, both of you!

SHERIFF DALTON

Doris, please, let us look at your neck.

DORIS

And if I refuse?

GRECO

Okay, fuck this. Take her, boys.

Greco and his cronies move past the other members of the mob, but their horses stop moving.

GRECO

Move it, you dumb animal.

ANOTHER ANGLE.

D is standing behind Doris and Dan on the porch. He pushes his way past them.

GRECO

Who the fuck are you?

D

My name is D. I've been hired by the Langs.

SHERIFF DALTON

So you're him, aren't you? You're the Hunter I've been hearing so much about. Vampire Hunter D, is that it?

That catches everyone by surprise, even Dan.

SHERIFF DALTON

Yeah, you gotta be the guy. I can tell by that sword of yours. Rumor has it that it's faster than a laser beam, or a lightning bolt. And on top of that, they say he's a dhampir.

DAN

What?

DR. FERRINGO

Then, Doris, you really were -

D

Yes, the girl was attacked by a vampire. And I have been hired to dispose of him.

MAYOR ROHMAN

Then that confirms it. That right there is more than enough reason for her to be thrown into the asylum.

DORIS

Forget it. Even if I consented to going, there's no way I'd leave Dan here all by himself.

GRECO

Suit yourself. Take her, fellas.

His cronies get ready to dismount, but D glares at them. The horses rear up in fright, causing the riders to fall to the ground, hard.

D turns his attention back to Sheriff Dalton.

D

I have a proposal to make, if you're so inclined to hear it.

SHERIFF DALTON

Okay. Let's hear it.

D

Hold off on any decisions about the girl. At least until I have done my job. If I succeed in destroying Count Magnus Lee, then you will leave the girl alone. However, if I should fail in my task -

DORIS

If D can't kill the Count, then I'll kill myself. I've got plenty of stakes.

GRECO

Don't listen to them! You heard the sheriff, that asshole's one of them; he's in league with the Nobility! You shouldn't be making any sort of deal with someone like him; he'll turn everyone in Ransylva into a bloodsucking demon! And as for Doris - let's just get rid of her. Give her to the Count or something like that.

Dan FIRES the rifle. The round hits the ground right in front of him.

GRECO

Yow!

DAN

That was just a warning shot, Greco; the next one won't miss.

SHERIFF DALTON

Heh. You done good, kid.

D

I suggest you heed the boy's warning; it is no idle threat.

SHERIFF DALTON

Hell, some of these idiots could do with a good thrashing every now and then.

(to Dr. Ferringo)

You've been awfully quiet, Doc. Nothing to say?

MAYOR ROHMAN

Hello, has everyone forgotten that I'm the mayor? I'm with my son; we shouldn't trust this drifter, especially if he's a god damn half-breed. Sheriff, clap her in irons. Now.

DR. FERRINGO

You may be mayor, but I have the final say when it comes to vampire victims.

GRECO

Oh, for the love of God, would somebody please do something?

DR. FERRINGO

Doris, after the initial attack, what symptoms have you felt?

DORIS

Does increasing anger at everyone here count?

DR. FERRINGO

(chuckles)

No, that's normal. So, no symptoms?

DORIS

No, none.

DR. FERRINGO

Very well. I find Doris Lang's infection of vampirism to be of the lowest possible degree. My prognosis is rest at home. Sheriff, Mayor, do you concur?

SHERIFF DALTON

Fine by me, Doc.

MAYOR ROHMAN

What, you're leaving her in the protection of this...freak?

DORIS

I'll have you know -

D

Doris, enough. I will remain until I have eliminated my quarry, and until such a time as I do, none of you are to harm the girl. So I suggest you turn your horses around and leave. Now.

SHERIFF DALTON

Okay, but let me say one more thing: Doris, I would hate to see a stake sticking out of your chest. Let's just hope that this Hunter is as good as they say.

The mob slowly begins to disperse.

On: Dan.

He's just staring up at Doris. He looks like he's ready to cry.

D

Dan, listen to me.

DAN

Huh?

D kneels down to look Dan in the eye.

D

Listen to me, Dan. I promise you and your sister that I will kill the vampire. And I keep the promises I make. Now, you must promise me something.

DAN

Sure. What?

D

If you want to scream and cry, that's your prerogative. It's okay to cry. But whatever you do, don't make your sister cry. If you think your crying will cause her to cry, then don't; hold it in. Make her smile. You need to be strong. Understand?

DAN

Uh-huh.

D

Good. Now, I need your help with something.

DAN

What's that?

D

Help me feed my horse. I'll be heading out on business soon.

DORIS

D? You're going already?

D

He'll be weak during the day. Weak and vulnerable. But before I leave, I have a charm I want to give you.

Cut to:

EXT. - WASTELAND. DAY.

D's riding his horse through the wasteland. The horse is quickly galloping down the road. D looks up at the sun. Judging by its position, it's past noon.

ANOTHER ANGLE.

We finally see his destination - a massive, black, medieval-style castle surrounded by a wide, deep moat. D brings his horse to a stop at the edge of the moat. He touches his pendant. It starts to glow.

The drawbridge begins to lower. After a moment, it's completely open. D spurs his horse forward over the bridge.

INSIDE -

The courtyard is lined with rows upon rows of planted trees and marble sculptures. The trees are in good shape, but the statues are in various stages of disrepair. There are stairways and corridors leading to different parts of the castle. D glances around at the trees and statues.

ANOTHER ANGLE.

He stops his horse just before a set of marble gates and climbs out of the saddle. The gates swing open, and D heads inside.

D's walking down a long, dark corridor. The only source of light is the sunlight pouring in through the windows high up on the walls; there are no overhead lights.

D comes to a door at the end of the corridor - the door's massive. The door opens, and D steps inside.

The door leads him to a large, dark room. But he's not the only one here - Larmica is here and along with her is her father, Count Magnus Lee. Count Lee is holding a wax candle in one hand; the wick is burning.

LEE

You are the first human to have come this far into my castle without my permission. You must be a man of considerable skill. And truth be told, we have been expecting you, my boy. You are a guest in my home, and as such, I expect you to name yourself.

D

I am D, the Hunter.

LEE

A Hunter, you say?

(laughs)

And I suppose you expected to catch us unawares during the day, did you?

LARMICA

Do not take this Hunter lightly, Father. He dealt Garou a grievous wound. No normal Hunter could do that. This man is a dhampir; he is no ordinary Hunter.

LEE

So true, Larmica. He is a traitor to his own kind. The bastard child of a vampire Noble and a human whore. Tell me, boy, are you man or vampire?

D

I am neither.

He takes out his sword.

D

I am a Vampire Hunter, and I have been hired to destroy you by the people of the Lang farm. It's nothing personal, Count Lee, but it IS my job to slay you.

LEE

(laughs)

Slay me? You forget your place, boy.

D

My place is between you and Doris Lang, Lee.

LEE

The only reason you are still alive is because Larmica willed it. She had hoped that we could make you one of us, and that you might stay here in the castle. But I see now that that is a waste of time. Dhampir, shame on our race, your attempt to slay me will only end in your own death.

LARMICA

Father, wait a moment.

LEE

What is it, Larmica?

Larmica steps forward, putting herself between D and her father.

LARMICA

You may be a dhampir, but one of your parents was of Noble blood, correct? It would be a shame to see you die - you, the only one to make me think that my own death was not too far off. Will you not apologize to Fater and join us in the castle? We could make you a full-blood Noble. It would be a much better life than wandering the barren wastelands, hunting our kind, our kind who are on the verge of extinction. And you would no longer be obliged to the humans. The very same humans that you aid also fear you. The ungrateful whelps have not accepted you as their fellow man, have they?

D doesn't reply. Not at first, anyway. Instead, he turns to Count Lee.

D

What will you do with the girl?

LARMICA

Do not overstep your bounds, half-breed!

LEE

She shall join me in this castle as my bride.

D

Humans and vampires are not meant to coexist, Count Lee. Humanity is reclaiming its place as the masters of the world. Your kind are no more than transient guests, and your time as the masters of this world has run out.

Count Lee is taken by surprise.

LEE

You dare to quote the Sacred Ancestor?

ANOTHER ANGLE.

D CHARGES for Lee. He gets ready to drive his sword into Lee's chest.

LARMICA

Father!

Before the tip of D's sword hits, Lee catches it, clasping the sword between his hands. D pulls on the sword, but it doesn't move. He tries pushing it; it doesn't move - Lee's got a damn good grip on the blade.

LEE

Surprised, Hunter?

D doesn't show it; as usual, his face is totally devoid of all emotion. He gives his sword another tug, and this time, he pulls it out of Lee's grip. As Lee loses his grip on the blade, it cuts into his hands.

D gets ready to charge for Lee again, but he doesn't get the chance. Larmica pulls a lever on a nearby wall.

ANOTHER ANGLE.

A trapdoor opens beneath D, and he falls through into the abyss.

LEE

So much for him.

He turns to Larmica.

LEE

But how? The way you were speaking last night, I got the impression that you had feelings for the boy.

LARMICA

If I did, I would not have allowed him to fall into the abyss. Please, Father, don't speak such nonsense. I could never allow one I love to fall into their domain.

LEE

Of course not, my dear daughter. But should he survive -

LARMICA

In the unlikely event that were to happen, I will rip out his heart and separate his head from his shoulders, and then I will drink his blood. No more of our kind will fall to his blade.

Cut to:

EXT. - TOWN - GENERAL STORE. DAY.

Dan places a big bag of fertilizer in the back of a horse-drawn wagon. Doris is right behind him; she straps the fertilizer and other supplies - feed bags, water jugs, etc. - to the inside of the wagon.

DAN

Think that's enough, Sis?

DORIS

It'll have to do, Dan.

Something catches her attention.

DORIS

Dan, wait here. I'll be back in a moment.

Quick cut to:

INT. - BAR. DAY.

Doris heads into the bar. Her attention's immediately drawn to Greco and his crew - they're sitting at a table in the corner, and Greco appears to be wearing a suit of armor.

ANOTHER ANGLE.

Doris storms over to their table.

DORIS

You have got some serious nerve, Greco. I practically had to beg Old Man Whatley to get the supplies I needed for the farm. Where do you get off letting me and Dan go without our necessities, you fucking lowlife?

GRECO

Ah, shut up. You're nothing but a vampire's fun toy now. Just be lucky you actually COULD get what you needed. It won't last forever, you know. How long do you expect to just scrape by? You won't have to worry about that for much longer, once you turn full vamp, but have you thought about your dear baby brother?

Doris throws a punch at Greco. He catches her wrist.

GRECO

You dumb bitch.

Doris manages to get free of Greco's grip.

GRECO

Don't forget, my old man's the one pulling the strings here in town. All I have to do is ask him, and he can make it so that you and your brat of a brother don't eat for a month.

DORIS

You've got a lot of nerve saying something like that.

GRECO

Well, things would be different if you were to marry me. It's all set up - once Pops calls it quits, I'll take over. Instead of busting your ass on that farm, you could wear all the best clothes and eat at all the best restaurants, and no one could tell you what to do. I'll protect you from the Count, not that mudblood fuck. Put out the money, and we'll have Hunters from far and wide coming here.

DORIS

That sounds nice, Greco. But, I'd rather sleep with the Count than marry you.

GRECO

(shocked)

WHAT?! You crazy bitch, I'm doing you a favor!

DORIS

I don't need any favors from you!

GRECO

Everyone needs a favor every now and then.

He grabs both her arms. She tries to get free, but Greco's got a hard grip on her.

DORIS

Let me go, Greco! I'll call the sheriff!

ANOTHER ANGLE.

The barman reaches for something behind the counter.

GRECO

Don't even think about it, buddy.

(to Doris)

Oh, and by the way, the sheriff won't be able to help you much. He likes his neck too much to stick it out for a hot shot like you.

He turns to his cronies.

GRECO

Hey, someone go stand guard. And if they ask, the bar's closed.

MARK

You got it, boss.

He makes his way over to the door. Someone's already there; a BIG someone - easily seven feet tall, extremely muscular, and with a machete strapped to his waist.

MARK

Beat it, pal. Bar's closed.

The big man gives Mark a light push, but it's enough to send him flying back against the far wall, hard enough to break his neck.

GRECO

What the - What the hell do you think you're doing, you overgrown bastard?

GOLEM

Whoopsie.

ANOTHER ANGLE.

Three more people join him - one is a small green hunchback, one is a pale gray man wth a hairless body, and the last is a rather handsome fellow.

REI-GINSEI

Sorry about that. Golem doesn't know his own strength.

GOLEM

My bad.

ANOTHER ANGLE.

The four of them sit at a table. Rei-Ginsei takes out a deck of cards.

REI-GINSEI

Five Card Stud, deuces are wild.

He starts dealing out the cards.

GRECO

Wait a moment. Just who are you guys?

REI-GINSEI

How rude of me. Let me to introduce myself and my compatriates. My name is Rei-Ginsei. My friends here are Golem, Chullah, and Gimlet. We're Behemoth Hunters.

GRECO

Bullshit. It takes over forty people to kill a baby behemoth. But then again, you're not exactly people, are you, you freaks?

Another one of Greco's cronies speaks up.

O'REILLY

A giant, a hunchback, some fella with a pointed head, and you. Heh. Hunters my ass.

REI-GINSEI

You don't believe us, do you? Okay. How about a personal demonstration? Oh, before we do - release the girl. I would hate for someone so beautiful to get caught up in all the ugliness that's about to ensue.

GRECO

Make me.

REI-GINSEI

Don't say I didn't warn you.

(to Doris)

Sorry about this.

He and the other three stand up from the table and turn towards Greco and his crew.

Back on: Greco.

He tosses Doris aside. She bangs her head on the side of a table as she falls. The hit knocks her out.

GRECO

Come at us, you creeps.

Gimlet makes the first move, CHARGING for O'Reilly and SLAMMING into him. Golem takes out his machete and charges, as does Chullah.

Greco and his cronies meet their charge. One of Greco's men takes Golem's machete to the head, while another one is bombarded with a swarm of insects launched from Chullah's back.

Greco swings at Rei-Ginsei. He catches Greco's hand and flips him over his back, before twisting his arm, breaking it.

Golem gives another of Greco's crew a hard punch to the chest, sending him flying back through the wall.

ANOTHER ANGLE.

Greco and his crew are now all on the floor with various injuries - some are barely conscious, at least two are dead; Greco and O'Reilly are the only ones still conscious, though not without injury - Greco's arm is broken, and O'Reilly's got a big bite mark on the side of his neck.

OVER TO - DORIS.

She slowly comes to. She sits up and holds her head.

DORIS

Ouch. That hurts.

REI-GINSEI

Ah, you're awake.

Doris looks up at him, then notices the carnage - along with Greco and his crew having just had the crap beat out of them, just about every table and countertop has been shattered.

O'REILLY

Keep them away from me!

ANOTHER ANGLE.

Rei-Ginsei helps Doris to her feet.

DORIS

I don't even wanna know.

REI-GINSEI

Well, that's good. Because I wasn't sure if you would want to know all the details. Listen, you should leave. Barkeep's probably summoned the sheriff; we'll tell him what happened.

DORIS

Um, yeah. Sure.

She starts to make her way to the door; she stumbles a little bit - she's still feeling the effects of the blow to the head.

REI-GINSEI

One more thing.

DORIS

Yeah?

REI-GINSEI

Be lucky you're pretty. If you were ugly, we wouldn't even have bothered.

DORIS

Um, thanks. I think.

Cut to:

EXT. - TOWN - ROAD. EVENING.

Doris is holding the reins as the horse pulls the wagon down the road. Dan's sitting in the seat beside her. He turns to her.

DAN

Did something happen back in town?

DORIS

I don't want to talk about it, Dan.

She touches the side of her neck.

DAN

What's wrong? Is D's charm bothering you?

DORIS

No, I'm fine. Just a little bit of sweat, that's all.

Cut to:

INT. - UNDERGROUND TUNNEL. NIGHT.

The only light in the tunnel is coming from D's pendant. From what little light it gives off, we can see that he's walking through a river of waist-deep water. The cavern walls to either side of the river are slick with moisture and fungus, and there's a slight mist in the air - not enough to obscure the view, but enough to know that it's there. There are also a number of skeletons, both human and animal - some are old and beginning to crumble, but some are fresh; they still have meat on the bones, and the flesh is infested with maggots. One of the skeletons - a human skeleton - has an eyeball hanging out of the socket, still attached to the optic nerve.

Back on: D.

None of this bothers him as he keeps walking. He keeps his gaze straight ahead.

Someone starts talking, but it's not D.

LEFT HAND

Well, we're in it now. Stuck God knows how far underground with God knows what waiting down here.

D

Don't worry.

LEFT HAND

I hate it when you say that. Listen, boss, I'm only looking out for your own well being.

D

And by extension, yours?

LEFT HAND

Of course. This is sympiosis, what we got going on here.

There's a splash in the water. D stops walking.

And then we see the source of the splash - three lovely women, all naked, floating in the water a few yards ahead. Their hair is soaking into the water and speading out, flowing towards D, but he doesn't notice that.

For a moment, nothing happens. And then, D breaks the silence.

D

I take it you must be them. The Medusas of Midwich.

CENTER SISTER

Ah, so you have heard of us.

RIGHT SISTER

Ooh, he's a fine specimen, sisters. A fine specimen indeed.

LEFT SISTER

I'll be the first to drink him dry.

CENTER SISTER

You may drink him first, but the joy of ecstasy shall belong to all of us.

The sisters begin to change - first, they rise out of the water, revealing that they're all connected at the hip like Siamese triplets, only their body is like a snake. We can hear their bones cracking as the change continues, and the women turn into hideous snake-like monsters.

Back on: D.

He tries to move, but he can't, not with the sisters' hair entangling him. The sisters themselves begin coiling around him, eyeing him lustfully.

LEFT SISTER

He is such a handsome creature.

RIGHT SISTER

And so strong. It may take us near of a week to drink him dry.

Another change begins, but this time with D. His eyes turn black, and a pair of fangs come out from the corners of his mouth.

He opens his mouth and sinks his new vampire fangs into the throat of the nearest sister.

Cut to:

EXT. - WASTELAND. MORNING.

Rei-Ginsei and his crew are lounging around a campfire. A woodland critter is being cooked over the flames. Gimlet's turning the critter, cooking it rotissery style.

ANOTHER ANGLE.

Chullah, who's laying on the ground, sits up.

CHULLAH

Someone's coming.

REI-GINSEI

How many, Chullah?

CHULLAH

A dozen, at least. All on horseback. And coming fast.

Gimlet looks out a good ways.

GIMLET

Yup, I see 'em. Think it's them, Rei?

A wicked smile crosses Rei-Ginsei's face.

REI-GINSEI

Only one way to find out.

Quick cut to:

EXT. - WASTELAND. MORNING.

Twelve horsemen are galloping down a ruined road; they look like they've been riding for days without stopping.

ANOTHER ANGLE.

Rei-Ginsei steps onto the road in front of them. The horsemen bring their mounts to a quick stop.

REI-GINSEI

Hello, boys. Fancy seeing you this far south.

FDF #1

So, you remember us?

REI-GINSEI

Well, if memory serves me correctly, you blokes ARE the Frontier Defense Force. Or am I wrong? Tell me I'm wrong and I'll let you go past with all of your limbs intact.

By now, the rest of his crew has joined him.

FDF #2

Boss, they're the Fiend Corps. You know, the ones that were terrorizing Pedros.

FDF #1

And here they are, jumping right into our arms. Are we lucky or what, boys? Okay, you assholes, since you went to all the trouble of turning yourselves in, how about you drop your weapons and we take you in quietly.

REI-GINSEI

Sorry, pal, but I'm allergic to the gallows. Don't believe me? Then exhume the body of the last hangman. You're better off just shooting me. But then again, it seems you've forgotten that one of us is MIA.

FDF #1

Bullshit. We got you, the hunchback, that super quick fella, and Rocky. By my count...

Realization dawns on him.

FDF #1

Oh shit, where's the other one?!

ANOTHER ANGLE.

Something leaps at him from the side, knocking him off its horse. As it stands up for a second, we can see it looks like some sort of ghostly panther, but that's all we can see of it before it tears into the man's face.

The eleven other meembers of the Frontier Defense Force take out their weapons, ready for a fight, but most of them don't get the chance as they, too, are tackled by a ghost panther.

It's total chaos as men scream while having their bodies torn open and their insides and throats ripped out.

REI-GINSEI

(to Golem)

Remind me to thank Witch for this, eh?

GOLEM

Boss, look out!

One of the FDF is still alive, and he's got his weapon - an old-fashioned revolving pistol - aimed at Rei-Ginsei's head. He pulls the trigger. The bullet hits Rei-Ginsei in the forehead -

But comes out from the back of the FDF's head! He instantly falls to the ground, dead.

GIMLET

Boss?

Rei-Ginsei touches the hole the bullet made in his forehead.

REI-GINSEI

That actually stung. But I think I'll live.

Cut to:

EXT. - WASTELAND ROAD. DAY.

Doris is riding her horse as fast as she can down the road. We can see the Count's castle off in the distance. As she gallops towards it, she starts passing by what looks like the ruins of an ancient city - there are pillars and destroyed parts of buildings and vehicles, all of them crumbling and covered with fungus.

Sitting against the remains of a half-destroyed statue is an old woman, doing odd hand gestures, like she's controlling a marionnett that isn't there.

Doris pulls back on the reins, bringing her horse to a stop.

DORIS

Hey lady, are you okay?

The woman doesn't answer.

DORIS

I asked you a question. Didn't you hear me?

She climbs off of her horse and starts making her way over to the woman. As she draws closer, something lets out a soft growl, catching her attention. She looks over to it - it's another ghost panther.

DORIS

Well, this can't be good.

She slowly takes her whip off of her waist, being careful not to make any sudden moves as the ghost panther stalks closer to her. Doris doesn't take her eyes off the panther.

The panther LEAPS at Doris. She flicks her wrist and cracks her whip. The whip CRACKS against the panther, causing it to evaporate into thin air. As it disappears, the old woman collapses to the ground.

DORIS

Hey lady, snap out of it.

She coils her whip up and places it back on her belt as she hurries over to the woman. She shakes the woman's shoulder; she doesn't respond.

DORIS

Oh shit.

Cut to:

EXT. - WASTELAND. DAY.

The ghost panthers - which are chewing on the bodies of the members of the Frontier Defense Force - evaporate. Rei-Ginsei clenches a fist in anger and turns to the rest of his crew.

REI-GINSEI

(grimly)

Witch is dead.

CHULLAH

How?

REI-GINSEI

I don't know. But we're going to find out.

He starts walking down the road.

REI-GINSEI

Come on, boys.

Cut to:

EXT. - RUINED CITY. DAY.

Doris hoists the dead woman onto the back of her horse. She ties the woman's wrists and ankles together with a strand of rope so that she doesn't fall off.

DORIS

Sorry, lady. I really didn't mean it. I'll find someplace to bury you after I come back from the castle, okay?

Something whizzes past, just barely missing Doris's nose and slicing off the old woman's head.

DORIS

WHOA!

ANOTHER ANGLE.

Rei-Ginsei - who's standing nearby - catches his weapon, a sharp metal boomerang, as it comes back to him.

DORIS

What are you going here?

REI-GINSEI

I could ask you the same thing, but I think I already know.

DORIS

You mean the old woman? It was an accident, I swear.

REI-GINSEI

I know. Shit happens. But unfortunately, I'm gonna have to send you to join her.

DORIS

What?

REI-GINSEI

Well, not before I'm compensated for saving your bacon yesterday. Besides, whatever Witch was doing when you showed up here, you weren't supposed to see. Can't have you blabbing our secrets to everyone now, can we?

ANOTHER ANGLE.

Doris climbs onto her horse and spurs it forward. It starts galloping away.

Back on: Rei-Ginsei.

He throws his weapon. The weapon slices off the horse's left legs, causing it to fall. Doris gets her leg caught under the horse as it falls to the ground. The horse is still trying to get back up with just its right legs, but the boomerang comes back around and slices them off, too.

Rei-Ginsei catches the boomerang and attaches it to his belt.

REI-GINSEI

At least now you won't be getting away.

He starts walking over to Doris as she finally manages to get her leg free from under the horse.

REI-GINSEI

It's a shame, really. You would have been so much fun.

Doris kicks him in the face before climbing to her feet and hurrying behind what's left of a marble pillar.

REI-GINSEI

Ooh, you ARE tough. And you know what they say - the tougher the prey, the greater the hunt. But you already know that, don't you? I know that your dad was a Werewolf Hunter. That means that you also know another little Hunter rule.

He starts walking over to the pillar. He comes around the corner, but Doris isn't there.

ANOTHER ANGLE.

Doris comes to a stop behind a rusted-out car.

REI-GINSEI (O. S.)

To dispatch your quarry, you must first flush it out.

Back on: Rei-Ginsei.

He takes the boomerang off of his belt and throws it. It slices through the top of the old car, going over Doris's head by less than an inch. She hurries away from the car and dives into a depression in the ground.

Rei-Ginsei catches the boomerang as it comes back to him, just as the rest of his crew show up.

GIMLET

What's going on, boss?

REI-GINSEI

Just bird hunting. Wanna join?

CHULLAH

Wait, what about Witch?

REI-GINSEI

Why do you think I'm bird hunting?

CHULLAH

Oh. Well, when we catch her, I'll twist off her head.

GOLEM

I'll tear off her arms and legs.

GIMLET

I'll pluck out her pretty little eyes.

REI-GINSEI

That just leaves the body for me. Excellent. Come on, boys, let's go get her.

Back on: Doris.

She gets as low to the ground as she can and puts her arms over her head.

That's when the ground starts shaking.

DORIS

What the -

ANOTHER ANGLE.

The entire area is starting to be filled with a light mist, just like in the underground tunnel - the mist is coming out of a large hole in the ground; it's the source of the shaking.

The first head of the three sisters pokes out of the hole, followed by the other two. They slither out onto the ground. Each one has a pair of puncture marks on their necks.

CENTER SISTER

This is the outside world?

LEFT SISTER

It's so cold. I liked it better down below.

RIGHT SISTER

At least there's some food nearby.

D climbs out of the hole after them. He wipes some blood from his mouth.

D

Your guide duties have been fulfilled. Now, return to the abyss.

LEFT SISTER

But, there's so much fresh food.

D

Get. Below.

The snake women look at him imploringly, but comply and slither back into the hole.

GIMLET

Who the fuck is that?

REI-GINSEI

I don't know, but he's quite the looker. Color me green with envy.

GOLEM

Come on, boss, we can take him.

D

I have no interest in battling anyone other than the Nobility, but if you wish to start something, then you had best be prepared to finish it.

REI-GINSEI

Is that a challenge?

Doris climbs out of the depression.

DORIS

D? D, is that you?

D

Come to me. Relax; there's no need to hurry.

Doris runs over to join D. As soon as she does, D starts walking away.

DORIS

Hey! Wait up.

REI-GINSEI

Yeah, wait up. Just who are you?

D glances back at him over his shoulder.

D

I am D, the Vampire Hunter.

He and Doris keep walking away.

Back on: Rei-Ginsei.

He takes his boomerang off his belt and throws it at D. As it gets close, D quickly takes out his sword and knocks the boomerang out of the air.

REI-GINSEI

What the fuck?

All he can do is look after D and Doris as they walk away; he's completely dumbfounded.

Cut to:

EXT. - FARM. EVENING.

D's now carrying Doris on his back as they approach the farmhouse. Dan throws the front door open and hurries out onto the porch as they get closer.

DAN

What happened, Sis? Fall off your horse?

DORIS

Shut up, Dan. This isn't my idea.

Quick cut to:

INT. - FARMHOUSE - DORIS'S BEDROOM. EVENING.

D sets Doris down near her bed. She instantly flops down on the mattress. D doesn't spare her a second glace as he leaves the room. Before he does, though, Doris sits up.

DORIS

What happened out there, D? Did you do it? Is he dead?

She puts her hand on the side of her throat.

D

I blew it.

He leaves the room.

LEFT HAND

Gotta tell you, man, this job certianly has its perks. If only you could've had the view I did.

Cut to:

EXT. - TOWN. NIGHT.

A black horse-drawn carriage is rolling down the street. It stops just in front of a hotel.

ANOTHER ANGLE.

Greco - along with a group of women - comes out of a nearby pub; Greco's arm appears to have been healed now. Greco spots the carriage outside the hotel. He pushes the women away as he starts running towards the hotel.

Quick cut to:

INT. - HOTEL - LOBBY. NIGHT.

Greco hurries up to the hotel clerk. The clerk looks like he's seen a ghost.

GRECO

Hey! I need to know what room that guy who just showed up is in.

CLERK

Uh...207.

GRECO

Thanks.

Quick cut to:

INT. - HOTEL - UPSTAIRS. NIGHT.

Greco hurries up the stairs and over to the room in question - Room #207. As he gets close to the door, he reaches into his jacket and takes out a stethoscope. He puts in the ear pieces, then places the end of the stethoscope against the door.

INSIDE THE ROOM -

Rei-Ginsei is in the room, along with Count Lee. Rei-Ginsei's holding two boomerangs now, but he's not using them.

LEE

I am well aware of you and your friends - Rei-Ginsei, is it? I know it was you who slaughtered the Frontier Defense Force; I know it was you who tried, and failed, to kill a certain young woman. I have business with her, but there is a certain someone who is impeding me.

REI-GINSEI

I don't know what you're talking about. I'm just a travelling artisan.

LEE

So you told the clerk, and I know that this is a lie.

He tosses a silver police badge at Rei-Ginsei's feet.

LEE

You believe the corpses were disposed of after you left them, yes? Well, this is not the case. If it were, I would not have that in my posession.

Rei-Ginsei puts his boomerangs back on his belt, then picks up the badge. He examines it for a moment before looking back over to Count Lee.

REI-GINSEI

What's your point?

LEE

The girl.

REI-GINSEI

There are plenty of girls in this village. Which one are you talking about?

LEE

She is currently in the company of one Vampire Hunter.

REI-GINSEI

Now I know who you're talking about. But why are you visiting me? You want to hire me as a hit man or something?

LEE

In a manner of speaking. There is something you should know about the Hunter before you make your decision.

REI-GINSEI

And what would that be?

LEE

He is a dhampir.

REI-GINSEI

(scoffs)

A half-vampire? That would explain a few things. I hear they're tough.

LEE

Perhaps, but so long as the boy is slain the girl is mine, well...

Rei-Ginsei's quiet for a moment; he's thinking hard about this.

REI-GINSEI

How am I supposed to kill someone like him?

LEE

With this.

He hands Rei-Ginsei a candle.

REI-GINSEI

A candle? What, am I gonna burn him with the wax?

LEE

That is no ordinary candle - that, my friend, is Time-Bewitching Insence. You need to give the candle a simple shake, and night becomes day, and day becomes night. You can only use this candle twice, but it should be enough to throw off his defenses. And that is when you deliver the killing blow.

REI-GINSEI

I take it a dhampir is killed the same way as a full-blood vampire? Stake through the heart? Do you want me to chop off his head, too?

LEE

So long as the stake pierces his heart, I care not. Just see to it that the Hunter dies.

REI-GINSEI

Okay. But on one condition.

LEE

Name it.

REI-GINSEI

Make me one of the Nobility.

Count Lee glares at him.

REI-GINSEI

Listen. There's a reason you chose me, I know there is. If this insence stuff is as powerful as you say it is, then you could have given it to anyone in this village. We live in an era where parents would kill their children for money, weapons, or sometimes to fill their own bellies. And yet, the fact that you chose ME of all people to kill the dhampir must mean that you admire my skill over everyone else's. I know a thing or two about dhampirs - like the fact that the worst thing you want to do is to make an enemy out of them. But this dhampir, this Vampire Hunter, he's not like the others. I know you're overlooking what me and my crew have done, but that's not enough. And I don't want the rest of my crew to have the gift of immortality - I alone would like to rise to the hallowed ranks of the Nobility. What do you say?

He holds out his hand.

REI-GINSEI

Deal?

Count Lee stares at him for a moment, and then they shake hands.

Cut to:

INT. - FARMHOUSE - LIVING ROOM. MORNING.

D's lounging on the couch when Doris rushes into the room, looking desperate. She's holding a piece of paper in her hand.

DORIS

D! We've got a problem!

D stands up from the couch. Doris hands him the note. He takes a good look at it. The note reads:

**"Your dear little brother is coming with us. The dhampir Hunter known as D is to meet us in the ruins, alone. All we want to do is to see who's stronger - him or us; that's all. If you fail to comply in any way, a certain eight year old boy will be dead by tonight."**

D

The author of this note is only telling a half-truth.

DORIS

What do you mean?

D

If they merely wanted to meet me, all they had to do was ask. But the fact that they took your brother means that they're trying to separate us. The Count must be behind this.

DORIS

It would have been a lot easier if he said that it was ME who was supposed to come. Not to mention a lot faster.

D

The author of this note must be the same man we met in the ruins outside of the castle. Perhaps he feels he has a score to settle. But there's another reason he's doing this and not the Count - using an innocent child as a means to an end would reflect poorly on the honor of the Nobility.

Doris practically SNAPS.

DORIS

Honor of the Nobility my ass! Even if he's not directly invovled, this is all the Count's doing! How can they give themselves an aristocratic name like "Nobility" when in reality they're nothing but blood-sucking monsters?

She stops herself from going any further; she realizes what she's just said and looks at D apologetically.

DORIS

I'm sorry, D. You're not like that.

D

There's no need to apologize.

DORIS

But, I...

She starts crying.

DORIS

I...

She throws herself against D.

D

Doris -

DORIS

(sobbing)

Shut up, D. Just shut up and hold me.

D puts his hands on her shoulders and just stares at Doris - more specifically, he stares at her neck.

D'S POV - Doris's skin turns transparent, showing the veins and arteries beneath.

Back on: D.

He opens his mouth. His canines are starting to elongate into vampire fangs again. He quickly clamps his mouth shut and pushes Doris away.

DORIS

D? I'm sorry; that wasn't like me at all.

D

It's all right.

DORIS

As soon as the Count's dead, you're gonna move on, aren't you?

D doesn't say anything.

D

I'm going after the boy. You should find someplace to hide.

DORIS

I suppose I could hole up at Dr. Ferringo's place. Please, D - bring Dan back.

D

I will. I promise.

Cut to:

EXT. - TOWN - DR. FERRINGO'S HOUSE. DAY.

Doris knocks on the door.

DORIS

Hey Doc! You home?

The door opens, but it's not Dr. Ferringo who answers - it's a nurse.

NURSE

Hello, Doris. If you're looking for the doctor, he's out right now - had to run off to Harker Lane's for a house call.

DORIS

When will he be back?

NURSE

He should have been back at noon.

DORIS

Well, I guess I'll be in your hair until he finally shows up.

Cut to:

EXT. - WASTELAND. DAY.

D's horse is galloping down the ruined road as fast as it can. D's got a tight grip on the horse's reins.

LEFT HAND

You could have stayed with her, you know. Or are you so worried about the runt that you can't sit still? Why are you doing this, anyway? You got the hots for her or something? Well, if you do, I don't blame you.

D

You're out of line.

LEFT HAND

Well, then again, you're not that kind of softie. After all, you've got _his_ blood in your veins. It's only a matter of time before you have to come to terms with the fact that your old man is -

D tightens his left hand into a tight fist.

LEFT HAND

Ow! My nose!

D

Another comment like that and I'll cut you off.

LEFT HAND

(muffled)

Okay, I hear you. Just let go; I'm suffocating down here.

Cut to:

EXT. - RUINS. EVENING.

Gimlet's standing on top of an old pillar. He puts his hand over his eyes, shielding them from the sun. He spots something off in the distance.

GIMLET

Here he comes, fellas.

He climbs down from the pillar.

REI-GINSEI

Alone?

GIMLET

Unless you count his horse.

Rei-Ginsei gives a little nod.

REI-GINSEI

Okay, boys. Just like we planned.

ANOTHER ANGLE.

Rei-Ginsei walks around to the other side of the pillar, where Dan is lying on the ground - his hands and feet are tied together with some rope, and there's a gag rag in his mouth. Rei-Ginsei lowers the rag.

REI-GINSEI

Good news, short stuff. Your hero's on his way.

DAN

D? You're a dead man.

REI-GINSEI

Big talk for a little boy. Well, I think you've lounged around long enough, don't you? Time to get to work, kid.

He picks Dan up off the ground using the rope tying him up and walks over to a nearby horse, which is also hitched to the pillar. He reaches into the saddlebag and takes out the candle.

REI-GINSEI

This thing had better work.

CHULLAH (O. S.)

Boss!

ANOTHER ANGLE.

D's standing just a few yards away from them all; his horse is about thirty yards behind him, nibbling on some sparse grass.

DAN

D, you're here!

REI-GINSEI

I wish I could tell you what an honor it is to have my weapon deflected by another man, but I'd be lying. Even if it were true, the fact that you're a miserable cross between a human and a vampire takes the fun out of it.

D

And you must be the bastard son of the devil and a hellhound.

Hearing this, Rei-Ginsei gets PISSED OFF.

D

I'm here for the little boy.

REI-GINSEI

Really?

He tightens his grip on the rope holding Dan's hands together. The rope actually starts digging into his skin.

DAN

Ow! D, it hurts! It hurts!

REI-GINSEI

Oh, I love this type of rope. It's special, you know - apply some force in the right direction and it starts digging into the victim's skin. I give this runt about a half hour before the life is totally choked out of him. And that's when I'm being generous.

DAN

(in pain)

D, help me.

D

Don't worry, Dan. I'll be done in a minute.

REI-GINSEI

A minute, hmm? There's four of us and only one of you; you really think you can take us out when each individual fight would only last about fifteen seconds? Suit yourself. Sic him, Golem.

GOLEM

You got it, boss.

He takes out his machete and lunges for D. D takes out his sword and deflects Golem's attack. He swings at Golem's shoulder, but his sword bounces off of Golem's arm.

GOLEM

What's the matter? I thought you said you'd take us out in fifteen seconds each!

DAN

Kick his butt, D!

GOLEM

Look at that; you're making the little baby cr -

He doesn't get the chance to finish his sentence; D's sword goes into his mouth, stabbing him in the roof of the mouth and coming out the top of his head. D kicks Golem off of his sword, and Golem falls to the ground, dead.

ANOTHER ANGLE.

Gimlet's up next. He rushes at D with a high burst of speed and literally starts running circles around him.

GIMLET

Catch me if you can, buddy.

D doesn't move. Gimlet starts singing a taunting tune.

GIMLET

(singing)

Running out of time, running out of time, running out of time, running out of -

D sticks out his sword. Gimlet's running so fast he can't stop; he runs right into D's sword and is sliced clean in half.

GIMLET

Time.

The two halves of his body fall to the ground. Gimlet's dead.

ANOTHER ANGLE.

A swarm of bugs is coming at D from behind. D quickly turns around and raises his left hand. The human-like face appears again and opens its mouth. It sucks in the bugs, and after a few seconds, all the bugs are gone.

CHULLAH

Oh shit!

D slices him clean in half down the middle.

Back on: Rei-Ginsei.

He actually looks impressed.

REI-GINSEI

Forty-three seconds, I'll be damned. Well, I suppose a deal's a deal.

He uses a boomerang to cut Dan's bonds. Dan runs over to D.

D

Stop.

Dan stops running.

DAN

What's the matter, D?

D

Get to cover.

DAN

O - okay.

Dan goes to hide behind a moss-covered statue.

ANOTHER ANGLE.

Rei-Ginsei takes another boomerang off of his belt and gets ready to throw them at D.

REI-GINSEI

Let's get this over with. I've got an appointment to keep.

D makes the first move, slashing at Rei-Ginsei. Rei-Ginsei barely manages to get out of the way; the tip of D's sword cuts open the front of his shirt.

REI-GINSEI

Hey, wait a minute! I have to tell you something about Doris Lang - her life's in danger!

D stops his next attack.

D

What are you talking about?

REI-GINSEI

Doris is with Dr. Ferringo, right?

D

How would you know that?

REI-GINSEI

Well, right about now, someone - and I'm not gonna say who - is getting ready to deliver her to the Count.

D

What?

REI-GINSEI

I can tell you where they're supposed to meet, but in return, I want you to hear a proposition.

D

Proposition?

REI-GINSEI

You and me - we replace the vampires. I've already made a deal with the Count to make me one of the Nobility. If he can get the girl after I take you out, that is. But after watching you kill my crew, I've had a change of heart. I'm human, and after he turns me, he'd treat me like a slave. I'd rather take his place as Count. In today's world, what keeps that old man in power? I'll tell you what - it's his castle. It's the fear that mankind has had of vampires since time immemorial. They had their time, but they're vanishing back into obscurity and legend. But if you and I were to join forces, well, there's so much we could do.

He puts a hand on D's shoulder.

REI-GINSEI

We could kill the Count. Take his fortune and the throne. You could take his daughter for your wife - the way I hear it, she's quite a catch. And with you being a dhampir, it'd be that much easier. Let me pretend that I've killed you and have the Count drink my blood. Think about it - Rei-Ginsei and Vampire Hunter D: The New Nobility. So, do we have a deal?

D just stares at him for a moment.

D

Not interested.

REI-GINSEI

Eh?

D

If you were to be turned into a vampire, then I would have more of an incentive to kill you. After all, it's only fitting that the Nobility be destroyed.

REI-GINSEI

Suit yourself.

He steps back from D and throws his boomerangs at him. D knocks the boomerangs out of the air with his sword.

ANOTHER ANGLE.

Rei-Ginsei readies the candle and shakes it, trying to get it to light, but it doesn't work.

REI-GINSEI

Come on, god damn you, light!

D makes one more swipe with his sword, taking off Rei-Ginsei's hand.

REI-GINSEI

(painful yell)

He falls to his knees, holding the stub of his hand with his other hand, trying to stop the bleeding. D points his sword at Rei-Ginsei's face.

D

Where is Doris Lang?

REI-GINSEI

You'd kill one human for another? I hope you burn in hell, asshole.

D

Answer me. Or you'll lose the face that you're so fond of.

REI-GINSEI

Fine. They'll be at the north woods.

D

Thank you.

He gets ready to stab Rei-Ginsei through the face. Rei-Ginsei quickly stands up so that D's sword is now going for his chest. At the last second, D changes his target so that his sword goes through Rei-Ginsei's stomach -

And comes out of D's back!

OVER TO: DAN -

Who's eyes go wide with shock.

DAN

What the - ?

ANOTHER ANGLE.

D takes his sword out of Rei-Ginsei's stomach; this also takes the blade out of D's back. He falls to his knees, using his sword to support himself as blood drips from his stomach wound.

D

You're a dimension twister, aren't you? I've heard of mutants like you, mostly from Barbarois.

Rei-Ginsei starts backing away.

REI-GINSEI

I'll make you pay for my hand another time, half-breed.

He turns around and starts running away.

Cut to:

INT. - DR. FERRINGO'S HOUSE. NIGHT.

Doris is sleeping on the couch. Someone shakes her shoulder. She snaps awake.

DR. FERRINGO

Whoa!

DORIS

Oh, Doc. You spooked me.

DR. FERRINGO

You spooked me spooking you. Sorry I was gone for so long; had some major problems out at Harker's place. But I got good news - I found some place where you and Dan can be safe. It's the ruins of a church in the north woods. Come on, I'll show you.

Cut to:

EXT. - FOREST ROAD. NIGHT.

Doris and Dr. Ferringo are now riding in a horse-drawn carriage. There are lit torches on either side of the carriage seat, giving them some light to see by.

Doris suddenly pulls back on the horse's reins, bringing the horse to a stop.

DORIS

Whoa there!

ANOTHER ANGLE.

Larmica is standing in the middle of the road.

DORIS

That's the Count's daughter.

DR. FERRINGO

That's odd. She shouldn't be here.

DORIS

Doc, we've gotta get this thing turned around, now.

Dr. Ferringo takes the reins out of Doris's hands, but he doesn't use them to turn the carriage around. Instead, he just drops them.

DORIS

What are you doing, Dr. Ferringo?

DR. FERRINGO

Ferringo? That was my name.

He turns to look at Doris, but there's something different about him - there are the tips of fangs poking out of the corners of his mouth, and there's a pair of puncture marks on the base of his neck.

DR. FERRINGO

Until last night.

DORIS

(gasps)

Oh, Doc, not you too!

The shock's too much for her, and she faints in the seat.

ANOTHER ANGLE.

Larmica starts walking over to them.

LARMICA

Well done, Doctor.

DR. FERRINGO

Larmica, I presume. You honor me with your presence and praise, My Lady.

LARMICA

You're to bring the girl to my father, yes? I shall accompany you.

Dr. Ferringo stands and helps Larmica climb up into the seat before moving to the back of the carriage.

DR. FERRINGO

It would be a pleasure, Lady Larmica.

Larmica turns her gaze towards Doris.

LARMICA

Now that I am this close, I can see why my father is so taken with her.

DR. FERRINGO

She is quite beautiful, isn't she? Her beauty pales in comparison to yours, My Lady, but when I was a human I'm surprised I never tried anything. Perhaps that's because I always viewed her as the child I never had. But no longer. I must speak the truth, My Lady - I intend to ask My Lord the Count to allow me to partake in the drinking of the girl's blood, though I dare not take it from the throat.

LARMICA

Perhaps my father will grant your wish. But in the meantime...

She takes out a steel arrow - she'd had it tucked into the belt of her dress - and plunges it into Dr. Ferringo's heart. He reaches a hand out for Doris.

DR. FERRINGO

(weakly)

Doris...Forgive...me.

He collapses, dead. Larmica pushes his body off of the carriage, then turns her attention back to Doris.

LARMICA

Father will be angry with me, but I care not. I will not allow a human to sully the name of my family. I certianly would not welcome one as his bride, let alone my stepmother.

A candle is lit nearby. Larmica's skin starts to bubble and become covered in blisters. She looks at her hand, as the skin starts to burn - not catch fire, but become severely burned. She leans over the side of the carriage and vomits up some blood.

LARMICA

What - How -

ANOTHER ANGLE.

Greco's walking towards the carriage from up the road; he's holding the Time-Bewitching Insence candle in his hand. He approaches the carriage as Doris finally starts to come to.

DORIS

Oh. What's going on?

She looks around, sees Greco holding the candle, sees Larmica writing in pain, sees Dr. Ferringo's body on the ground.

DORIS

Greco, what are you doing way out here?

GRECO

You sure have a weird way of thanking people. Here I am, saving you from a vampire bitch, and you act as though you're interrogating me for some crime.

DORIS

Did you kill Doc, too?

GRECO

Old Doc Ferringo? No, she did.

He indicates Larmica, who's now curled up in a fetal position on the carriage seat; her skin is still bubbling, and she's beginning to get extremely burned.

GRECO

Shame, that. On the plus side, it makes rescuing you a bit easier. So let me guess - this is the Count's daughter. Oh, and if you're wondering, she didn't turn Doc, the Count did.

DORIS

You knew he was gonna be attacked and you didn't do anything about it? You're a sad, pathetic piece of shit. No, in fact, you're lower than shit - you give shit a bad name.

GRECO

Oh, shut up, will ya? Right now, we gotta decide what we're gonna do about the girl.

DORIS

What we're gonna do about her? This is the Count's daughter you're talking about!

GRECO

I know. So, do we kill her, or use her as leverage?

DORIS

You must be joking.

GRECO

No, I'm serious. And don't act like this doesn't concern you. I'm doing all this just for you.

Doris is about to say something, but she stops herself. She looks over to the candle Greco's holding and winces a little bit.

GRECO

Oh, this thing? Just a little bauble I picked up. Vampire invention, you know. Turns night into day and day into night. Since I'm using it at night, the vampire girl thinks it's day time, and as such, she's suffering the effects. So will other vampires if they come within even fifty feet of us, so with this candle and this girl, we can make a deal with the Count. Take her hostage, set up a trade, then kill the Count. It's the perfect plan - assuming we don't hit any snags.

DORIS

Could you...Could you really do that?

GRECO

Whether vampire or human, there isn't a parent out there who doesn't care for his children. That is how we get him. We tell him we want to trade her for some treasure, and when he comes calling all confident and such, BAM! Stake through the heart, and we cut off his head. Stories say that their bodies turn to dust and disappear once their dead, or burst into flames, or something - they're a little inconsistent. But if someone like my dad or Sheriff Dalton were there to see it, they'd make a pair of first-class witnesses when I tell the story to the government in the Capital.

DORIS

This is just so you can get your name in the history books, isn't it?

GRECO

Yeah, you're right; it's just wishful thinking. Forget I even brought it up. Anyway, if we were to kill these two Nobles, then we'd get everything they have - fortune, ammo, weapons, everything. And bring their race one step closer to extinction.

DORIS

But this girl hasn't done anything.

GRECO

Open your eyes, Doris! A vampire is a vampire! They're all fucking bloodsuckers preying on humanity!

LARMICA

(weakly)

Kill me.

DORIS

Huh?

GRECO

What's that?

LARMICA

(weakly)

Kill me. Kill me now. If you don't, I will one day kill you both.

GRECO

Shut up, you bitch.

He goes to slap her, but Doris stops him.

DORIS

You'd hit someone who can't defend themself?

GRECO

Shut up, Doris!

He takes a stake off of his belt and gets ready to stick it into Larmica's chest, but Doris stops him again, this time with a hard kick to the chest. Greco falls onto his back, hard. As he falls, the candle goes out.

ANOTHER ANGLE.

Doris helps Larmica sit up.

DORIS

Don't worry; I won't let him hurt you. But, I can't just let you go either. You'll have to come back to my house with me; we can figure out what to do about you there.

LARMICA

(chuckles)

Try what you wish, but I will not be going anywhere with you.

Now that the Time-Bewitching Insence has gone out, Larmica's no longer suffering the effects - her skin isn't bubbling and blistering and burning anymore, and she appears to have a lot more energy.

Larmica lunges at Doris, ready to dig her fangs into her throat, but as she gets close, she quickly falls back and starts acting like she'd just been sprayed with mace.

DORIS

D's charm...

(gasps)

Greco!

She climbs out of the carriage and hurries over to Greco.

DORIS

Greco, are you okay?

She helps Greco to his feet. He starts rubbing his chest.

GRECO

Yeah. Yeah, that was a good hit.

LEE (O. S.)

I knew something was wrong when the doctor failed to arrive on time.

ANOTHER ANGLE.

Count Lee is standing on the road a few meters away. He's not alone - Garou is with him, and in his werewolf form.

Back on: Doris.

She takes her whip off of her belt and cracks it towards Count Lee. Before it can reach him, Garou catches it in his jaws and starts chewing on it.

DORIS

I thought vampires and werewolves hated each other.

LEE

A common misconception. This one serves me. And I warn you, he's very ill-tempered. Another thing you may wish to consider - he has my permission to hurt you should you try anything funny. It actually makes me laugh, thinking about having a bride who's missing some fingers and toes.

Greco takes out his revolver and FIRES at Count Lee. The shots hit him, but don't do any damage - other than irritating him a little bit.

GRECO

Oh shit.

GAROU

(howls)

Garou's ungoldy howl is enough to cause Greco to piss himself.

LARMICA

Father...

LEE

Larmica, I know what you were planning. Daughter or not, I will not allow you to impede me. You will be punished upon our return to the castle. Now, stand aside.

Larmica steps back from the group.

Back on: Count Lee.

He extends a hand towards Doris.

LEE

Now, Doris Lang, come with me.

DORIS

Forget it. I'm not going anywhere with you.

LEE

You have no say in the matter, my dear. Especially since your precious dhampir Hunter is not here to protect you. He's otherwise engaged, and my mutual friend happens to hold a secret weapon.

LARMICA

Father, could you possibly mean Time-Bewitching Insence?

She points to Greco.

LARMICA

That man had it!

LEE

What?

He glares at Greco.

LEE

Tell me, boy, how could you have the incense when I gave it to Rei-Ginsei? If you have it, then that must mean that the half-breed is -

ANOTHER ANGLE.

D is standing right behind Larmica.

D

Here.

Garou gets ready to pounce, but a glance from D stops him.

D

Doris, you and Greco get over here. Now.

Garou gets ready to pounce again, but Doris stops him.

DORIS

Try anything and I'll bite my tongue off and bleed to death.

GAROU

(growls)

D

We shall settle this another time. For now, your daughter will be coming with us.

LEE

What do you plan to do with her?

D doesn't answer.

LEE

She has cost me the chance of a lifetime; I no longer consider her my daughter. Let her burn in the light of the morning sun for all I care.

ANOTHER ANGLE.

D, Doris, and Larmica climb into the carriage. The whole time, Larmica keeps her gaze on her father with an expression of shock and sadness.

Cut to:

EXT. - WASTELAND. NIGHT.

Doris is once again manning the reins as the horse pulls the carriage behind it. There's another horse up ahead; Dan's riding this one. He's also holding the reins of another horse.

DORIS

Dan! Thank God you're safe.

DAN

You should have seen it, Sis! D was amazing! Well, except for that time when he got stabbed, but hey, he came out fine.

DORIS

Wait, he got stabbed?

D

It's nothing. Don't worry.

He turns to Doris and Greco.

D

It's time we lightened the load. Doris, you and Greco get on a horse. Dan, come over here with me.

Dan climbs off of his horse as Doris and Greco climb out of the carriage. Doris and Greco each get on a horse while Dan climbs up into the carriage to sit next to D.

DORIS

Are you sure you can handle the carriage with her riding with you?

D

We'll be fine.

LARMICA

Traitor!

Her outburst catches everyone by surprise. Everyone but D, of course.

LARMICA

You have power and skill enough to intimidate my father. You have forgotten your proud Noble blood. You fight to protect the humans, by hunting down members of your own kind. My entire being feels polluted just by speaking to you. You may as well kill me now, because my father would not bother to follow you this far.

DORIS

Quiet. We don't take orders from hostages. What have you so-called "Nobles" done for us? Nothing but terrorize and feed on us, that's what. The more humans you attack, the more families you destroy. Your kind are demons; you're the devil incarnate, each one of you. Oh, and the weather controllers your kind created during your tenure as the ruling class - do you have any idea how many people die each year from tidal waves and earthquakes? Do you have any idea how many parents and children are separated from each other and are never reunited?

LARMICA

We are the Nobility - the ruling class, as you have so rightfully said. And as the rulers, we are entitled to do whatever is necessary to keep the lower classes from rebelling against us. You're lucky we even allowed your kind to live during those ten thousand years.

She turns to Greco.

LARMICA

I heard what you said about this man. For wanting you as his own, he did nothing to warn an old man of a vampire attack. If you are to blame anyone for the death of the old doctor, blame this fool. But that does not mean that _I_ condemn him for that. On the contrary, he is to be praised. After all, is it not appropriate to sacrifice others to satisfy our own desires? I remember the words of the human scientist Charles Darwin - survival of the fittest. The strong rule the weak, the superior leave the inferior to rot in the dust. There are many among both humans and vampires who share that point of view.

DORIS

You're not the only one who heard something back there. I heard your father say that he wanted to marry me. You have no idea how disgusted I am now that I know that. Every night he comes sniffing around my place like an dog in heat, and I always turn him down - you'd think he'd get the message by now. Either the Nobility is hard-pressed for women, or your father is just that weird.

Larmica and Doris just stare at each other. Both women are giving each other looks of pure hatred.

ANOTHER ANGLE.

D pulls back on the reins of his horse, bringing it to a stop. Doris and Greco follow suit.

DORIS

What's going on, D?

LARMICA

What do you intend to do with me, dhampir?

D

You're right; we've gone far enough now that your father won't give chase. Now, we just have to deal with you. I have been hired to protect Doris and her younger brother from your father. Anything else is another matter entirely.

He turns to Doris.

D

Ultimately, the decision is yours. What do you want to do with the girl?

Doris thinks about it for a moment.

D

What do you want to do?

LARMICA

Kill me. If not, you will come to regret it.

DORIS

Let her go. Listen, Larmica, even if you ARE a vampire, I just don't have it in me to kill anyone. I'm no murderer.

D turns to Dan.

D

How about you, Dan?

DAN

I'm with my sister on this one.

D

Well, there you have it.

(to Larmica)

You're free to go.

LARMICA

I am amazed by the stupidity you have each shown this night. If you expect me to thank you, then you can stop expecting because I will not show you any gratitude. Had I been in your position, I would have had you slaughtered like a beast. The same goes for your brother, and that fool of a man.

ANOTHER ANGLE.

Doris climbs off of her horse and hands the reins to Larmica.

DORIS

Take the horse.

D

It seems that even children know the cosmic principle.

LARMICA

(surprised)

What?

D

The things you said earlier - survival of the fittest, might makes right...Your Sacred Ancestor never believe that.

LARMICA

How could you possibly know that?

D doesn't answer.

LARMICA

Not only are you sickeningly soft-hearted, you also seem prone to delusions. That is the second time you have quoted the Sacred Ancestor, yet there is no chance a lowly mudblood such as yourself would know of his greatness. He, who made our civilization; he, who made our whole world; he, who made the laws by which we ruled...Each of us have faithfully followed his words.

D

Each of you? Then tell me - why was he so troubled?

He flicks the reins, urging the horse forward and leaving Larmica behind, completely stunned.

LARMICA

Impossible.

Cut to:

INT. - SHERIFF'S OFFICE. MORNING.

Dan, D, and Doris are in the room with Sheriff Dalton. On the other side of the door, we can hear the police station bustling with activity.

SHERIFF DALTON

Shame about Dr. Ferringo. He was the finest medical practitioner in the region. It's gonna be tough finding a replacement. On the plus side, at least that mutant Rei-Ginsei won't be at large for much longer. Then again, he probably high-tailed it back to Barbarois after you chopped off his hand.

D

If he succeeds in joining the Nobility, he could lose all his limbs and still be a threat.

DAN

But why didn't you lock Greco up?

SHERIFF DALTON

You heard the mayor - Greco's gone. But it's not like we can charge him for this. He saved you from a vampire, Doris; people would see that as a heroic act.

DORIS

Yeah, but you can't forget that he didn't even bother to warn Dr. Ferringo.

SHERIFF DALTON

Sorry, Doris. In this case, the positive outweighs the negative.

Cut to:

INT. - BARN. DAY.

The barn door opens, and Doris comes in; she's got a stack of buckets with her. She stops and lets the buckets fall from her hand when she sees D milking a cow with his left hand - his right hand's free in case he needs to go for his sword - and there's at least twenty buckets full of milk sitting around him. The bucket he's using now is almost full.

DORIS

Holy...

D

Is something wrong?

DORIS

You must've hit every cow in the barn. It would have taken me three days to do all that, and yet you did it in about three hours.

D finishes milking the cow and stands up.

D

I'm finished here.

DORIS

Well, let me help you get the milk to the tank.

Cut to:

INT. - BARN - TANK ROOM. DAY.

Doris pours a bucket of milk into the tank.

DORIS

Almost done.

D

Doris, the Count will probably pay you a visit tonight. You should get Dan to bed early this evening.

DORIS

Yeah.

She goes to pick up another bucket, but this one seems to be heavier than the last one; she needs both hands to lift it.

ANOTHER ANGLE.

D takes the bucket from her. Doris snaps.

DORIS

I can handle this!

Her own words shock her; she drops the bucket and runs away.

OUTSIDE -

Dan's sweeping the porch when he sees Doris run out of the barn.

DAN

What the -

D comes out next.

DAN

Hey! D!

He walks over to join D.

DAN

You know, someone once told me that a man shouldn't make a woman cry.

D

You're right. I'll go apologize.

He takes a few steps after Doris, then stops.

D

Dan, do you remember the promise you made me?

DAN

Uh huh.

D

You're eight now. You'll be a man in a few years, and then you'll be stronger than your sister. Don't forget.

He continues following Doris, who's leaning against the back wall of the house. She sounds like she's crying.

D

You should get some rest.

DORIS

I'm sorry. I should have listened to you; I should have waited a little bit longer for another Hunter. Once you leave, I won't be able to live like I used to. I won't be able to set Dan straight when he needs it, I won't be able to fend off anyone like Greco. But you're going to leave just the same.

D

That was the deal. The death of the Count will end your pain. Either his death...or mine.

DORIS

No!

She turns to D and buries her face against his chest.

DORIS

(crying)

No, no.

D's face begins to contort as the tips of his fangs poke out of his mouth again.

DORIS

D...You can, if you want.

D pushes her away from him.

D

(panting)

I...I'm okay now.

He starts walking towards the front of the house, leaving Doris alone; she stares after him.

LEFT HAND

There you go again. That's twice in two days. And this time, she told you she wanted you to suck her blood. So why didn't you?

D

Be quiet.

LEFT HAND

Face it, pal. She wants you. And I know that you want her. The fact is, you've got the blood of the Nobility in you. And even if you didn't, haven't you ever thought of settling down with a woman? How long have you been wandering the Frontier? Too long, that's how long. Maybe it's about time you DID settle down, and this girl is the perfect woman for you - she's independent, she's tough, and she's cute.

D

I told you to shut up.

LEFT HAND

Look, man, I know I'm a parasite, but haven't I always been a helpful parasite? Or at least...semi-helpful?

D stops walking as he nears the porch.

LEFT HAND

She saw your other face and probably caught the scent of your cursed blood. So drop the nice guy routine for once, would you? You fight your own desires and deny the wishes of a girl who wants you to suck her blood; that's no way for a grown up dhampir to act. You're always on the run - from your heritage and the people who want you. The whole "we're fated to part" bullshit is just an excuse. Listen to me, your father -

D clenches his fist.

LEFT HAND

Ow! You got my eye that time.

D senses something. He looks up at a nearby hill.

OVER TO: GRECO -

Who's lying on his stomach on top of the hill, hidden behind some tall grass and looking through a pair of binoculars, and he's once again wearing the armored suit he was wearing in the bar. He quickly lowers the binoculars and slides back into the grass to hide.

GRECO

Oh shit!

He regains his composure.

GRECO

Okay, I don't think he saw me. Son of a bitch gets to have all the fun.

He reaches into his belt and takes out the Time-Bewitching Insecce candle.

GRECO

Well, come sunset, that'll all change. I got the candle, I got the stake, and soon, I'll have the girl.

REI-GINSEI (O. S.)

You really think it'll go that smoothly?

ANOTHER ANGLE.

Rei-Ginsei is sitting in the branch of a nearby tree, watching Greco.

GRECO

You again? What the fuck do you want now?

REI-GINSEI

You know what I want. The candle - it belongs to me, and you stole it.

He holds up the stump of his hand.

REI-GINSEI

I lost my hand thanks to you.

GRECO

So, how'd you know I was gonna be here?

REI-GINSEI

Actually, I came out here to wait for the Count, but, well, you know, shit happens. So, are the three of them still alive and well?

GRECO

Um, yeah.

REI-GINSEI

Thought so. Guess I'll have to score some quick points if I'm to be made one of them.

He hops down from the tree.

REI-GINSEI

I got an idea. Let's work together, you and me.

GRECO

Why would I want to do that after you and your crew slapped us around the other day?

REI-GINSEI

When I look at you, I see a man obsessed with what he wants. You want the young lady on that farm down there, but her bodyguard's in the way. Well, you're not the only one who wants to get rid of him. Deal?

Greco doesn't respond.

REI-GINSEI

You really think that the candle and your combat suit will be enough to handle him?

GRECO

Let me get this straight. If we work together, that dhampir will die, and I'll get to have Doris all to myself?

REI-GINSEI

That's the idea. I'll fight him once the sun goes down, and I'll signal you when it's the right time to light the candle. If he's left open for even an instant, well...

He takes one of the boomerangs off of his belt.

REI-GINSEI

That's where my shrike-blades come in.

GRECO

But what happens after that?

REI-GINSEI

Excuse me?

GRECO

Are you gonna hand Doris over to the Count? Because that's what I've been busting my ass to keep from happening, you know.

REI-GINSEI

I know. So take her and leave. The only promise I made to the Count was that I would kill the half-breed, nothing else. If you don't want the Count to have her, well, you'll have to talk to him about that, because it's out of my hands. But just between you and me, if you DO decide to elope, I've got friends all over the place - Pedros, Garusha, Tepes. Just stay out of Barbarois; I hear that place is a real hellhole.

GRECO

I hear you.

REI-GINSEI

Then we have an accord?

Greco reluctantly shakes Rei-Ginsei's hand.

GRECO

But if you pull any shit, I'll destroy the candle and take your other hand.

REI-GINSEI

Deal.

Cut to:

INT. - MORRIS HOUSE - BEDROOM. NIGHT.

Old Farmer Morris and his wife are fast asleep. The window opens, sending a cold breeze through the room and waking them up.

ANOTHER ANGLE.

Their granddaughter, Lucy, is standing next to the window, but she looks like she's in a daze.

MORRIS

Lucy, what are you doing?

And then he notices the two puncture marks on her neck.

MORRIS

Oh my God.

Lucy starts speaking, but her voice doesn't come out; it's the Count's!

LUCY

(Count Lee's voice)

I am Count Magnus Lee. Bring me Doris Lang. Bring her to me, or the ranks of the undead shall grow night by night.

She collapses to the floor.

Cut to:

INT. - LANG HOUSE - LIVING ROOM. NIGHT.

D is once again stretched out on the couch. He's just about to fall asleep when Doris's bedroom door opens. She comes out wearing nothing but a towel.

As she gets closer to D, she lets the towel drop.

D

What are you doing? I haven't finished the job.

DORIS

Just shut up and take it. Think of it as an advance payment.

She climbs on top of him.

DORIS

Besides, I may never get another chance.

She goes to kiss him, but D quickly sits up, pushing Doris off of him.

DORIS

What's gotten into you?

D

Someone's coming.

DORIS

Who? The Count?

D

No. There's at least a hundred people. This could be trouble. Get dressed and wake Dan up.

Quick cut to:

EXT. - FARM. NIGHT. A FEW MOMENTS LATER.

It's like the entire town's bearing down on the farm. Actually, it's more of an angry mob; a lot of the people have torches and farm tools and several of them have firearms, and they're all angry. At the front of the mob is the mayor.

MAYOR ROHMAN

Doris! Doris Lang, get out here!

The front door opens, and Doris, Dan and D step out onto the porch. Doris has her rifle.

DORIS

Okay, I'm here. Now, what do you want? You'd better have a damn good reason for bring the whole fucking town to my doorstep.

She aims her rifle at the mayor.

DORIS

Oh, and don't get any funny ideas, Mayor, because I won't hesitate to shoot you or anyone else. Understand? Now, I want answers. What's with the mob? And where the hell's the sheriff?

MAYOR ROHMAN

Locked up in his own jail. We'll let him out when we're done with you.

He makes a gesture with his hand, signalling someone to come forward.

Old Farmer Morris pushes his way through the mob, carrying Lucy in his arms; she looks like she's dead.

And he's not the only one; there are a few others, as well - miller Fu Lanchu and hunter Machen, both supporting their wives, who, like little Lucy, don't look alive. The two women have puncture wounds on their necks.

Back on: Doris.

She slowly lowers the rifle.

DORIS

Oh my God. The Count did this.

MACHEN

That's right. The wife and I were fast asleep when she suddenly started talking with a man's voice.

FU LANCHU

The same with Kim.

MORRIS

And Lucy. It was the Count's voice, and he said he wanted you. Sounds like everything Greco's been saying about you is true. Figured you would have staked yourself by now. But instead, our children and our wives are suffering in your place!

DORIS

You think I wanted this? Because I didn't. I...

She lowers her face.

DORIS

I don't know what I should do.

MAYOR ROHMAN

It's simple. Chase off that punk behind you. And then you're going to the asylum. Unless you'd rather we give you to the Count?

D

And after you do all that, how do you intend to take care of him?

D's voice and presence are enough to silence the mob.

D

Answer the question. How will you take care of the Count?

He starts walking towards the mayor.

MAYOR ROHMAN

Well, I - That is, we, um...

ANOTHER ANGLE.

D puts his left hand on the mayor's forehead.

D

Magnus Lee...How will you deal with him?

Mayor Rohman starts to talk, but not through his own willpower.

MAYOR ROHMAN

Throw the girl in the asylum. And then...we negotiate. We tell him...to leave the townsfolk be. If not...we kill his woman. After we talk...we let Doris out...tell her...we killed him...and he can do...what he wants.

D

Aren't you the cooperative one.

He takes his hand off the mayor's forehead. The mayor almost collapses.

MAYOR ROHMAN

You little bastard, you're the fucking devil! If you give Doris any more help -

D

This young lady hired me to slay the vampire, and I will not leave until I have completed my mission. Especially not after hearing your detailed confession.

His tone turns a bit more grim.

D

The Nobility have been around for ten thousand years; some of the oldest vampires have lived for much longer than that. They won't die out if you stand around and wait. What you people fail to understand is that the only thing necessary for evil to triumph is for good men to do nothing. How many times will you give in? How many people will you sacrifice to the Nobility as though they were lambs? The Nobility have nothing but extinction ahead of them. If that's your mentality, about sacrificing others, then I will never allow you to lay a finger on the girl. An old man who would weep for the child taken from him, husbands who would have another woman take the place of their defiled wives - in my opinion, mankind may be even more evil than the Nobility they fear. I will defend this family, even if I have to leave a mountain of corpses and a river of blood in my wake.

REI-GINSEI (O. S.)

Is that so?

ANOTHER ANGLE.

Rei-Ginsei climbs over the fence and makes his way to the front of the mob. He's wearing a piece of Greco's armor - just on his right arm. He holds up the stump of his hand so D can see it.

REI-GINSEI

I forgot to thank you for this yesterday. Do you have any idea of the pain that comes with having a hand cut off? It really fucking hurts.

MAYOR ROHMAN

Wait a minute, I know you. You're one of the men who slaughtered the Frontier Defense Force.

REI-GINSEI

I'd love to see you prove that, old man. I know I've had my problems with them in the past, but let's let bygones be bygones, shall we? Look, Mr. Mayor, I have an idea. Wanna hear it? Of course you do. Let me fight our dhampir friend. If he wins, you leave this family alone from now on. If I win, the girl goes to the asylum. Deal?

MAYOR ROHMAN

I don't know.

REI-GINSEI

Better make your decision fast, old man. There'll be more victims by tomorrow night.

MAYOR ROHMAN

Okay. Fine.

REI-GINSEI

Oh, one more thing.

MAYOR ROHMAN

What?

REI-GINSEI

There are wanted posters of me all over the Frontier towns, from here to Gabral. Take down the posters and withdraw all warrants for my arrest.

MAYOR ROHMAN

Okay, fine, just get this over with.

Rei-Ginsei turns to Doris.

REI-GINSEI

You agree?

DORIS

Sure, if only to see you get your ass kicked. I wasn't there to see it last time.

D

Name the arena.

REI-GINSEI

Right here. Even though it'll be short, let's be sure to put on one hell of a show for these folks.

ANOTHER ANGLE.

D goes down the porch steps to meet Rei-Ginsei. The mob backs off to give them some room.

D takes out his sword as Rei-Ginsei takes one of his boomerangs - his shrike-blades - off of his belt.

Rei-Ginsei makes the first move, swinging his blade for D's head. D blocks with his sword and gets ready to cut off Rei-Ginsei's other hand.

OVER TO: GRECO -

Who's hiding in some bushes. He gives the candle a quick shake, ligthing it. He comes out of the bushes and starts walking over to the fight.

Back on: D.

He suddenly falls to his knees. Though he's supporting himself with his sword, he's barely able to stay standing.

REI-GINSEI

Can't move, can you, Vampire Hunter? This is how our fight was supposed to play out last night. Too bad there were some unforeseen consequences. Oh well.

He takes a wooden stake off his belt.

REI-GINSEI

What's done is done.

He JAMS the stake into D's chest, plunging it into his heart. D drops his sword as he collapses, dead.

DORIS/DAN

D!

GRECO

Nailed him!

DORIS

Greco, you were with him?

MAYOR ROHMAN

Okay, Doris. You're coming with us. Someone grab her and her brother.

ANOTHER ANGLE.

As a few members of the mob round up Doris and Dan, Rei-Ginsei flips D over onto his back and lifts up his left hand.

GRECO

What are you doing?

Rei-Ginsei closely examines D's hand. After a few seconds, he angrily lets it drop.

REI-GINSEI

I don't understand! This is the same hand that ate Chullah's spiders and made baldy talk. How did he - You know what, forget it.

(to Greco)

Hey, come hold his arm up, would you.

GRECO

Um, sure.

He holds D's hand up, and Rei-Ginsei slices it off with one of his shrike-blades.

GRECO

Whoa!

He tosses D's hand away.

GRECO

What was that all about?

REI-GINSEI

An eye for an eye. And a hand for a hand.

GRECO

Oh.

Rei-Ginsei starts to walk away. Greco hurries to catch up to him.

GRECO

Hey, wait up. How about we head to the bar? Drinks are on me.

Rei-Ginsei looks over his shoulder at Greco. In his eyes is the look of pure murder.

REI-GINSEI

Next time we meet, consider your life over.

He keeps walking away as Greco just stands there, dumbfounded.

Cut to:

EXT. - HILLTOP. NIGHT.

Count Lee and Garou - the latter of whom is in his human form - are standing atop the hill; they've seen the whole thing. There's a carriage behind them.

LEE

Exactly as planned. The dhampir is dead, and soon, the girl shall be mine.

(to Garou)

How was Larmica doing when you saw her last?

GAROU

In pain when I took my leave to join you, Sire. She was punished with Time-Bewitching Insence, per your instruction.

LEE

Good. Perhaps that will keep her from harboring any further thoughts of betrayal.

(scoffs)

Transient guests? How dare he quote the Sacred Ancestor and defile his good name. The rest of my kind face extinction, but the girl and I shall remain here and continue to hold the humans down with fear, just as we have for the past ten millenia.

(to Garou)

Go and fetch the girl. And be quick about it; dawn approaches.

Garou bows.

GAROU

My Liege.

He climbs into the carriage and urges the horse forward.

Cut to:

EXT. - FARM. NIGHT.

D's still lying dead on the ground. His severed hand is lying a few feet away. The hand's fingers start to twitch, and after a few seconds, the human face appears, folding up out of the skin again.

LEFT HAND

Figures, I gotta bail him out AGAIN. Well, guess I'd better get to work. First, I gotta...roll...over.

It starts to roll over, or at least it tries to.

LEFT HAND

God, I wish I had some legs.

It finally rolls over so that it's facing the ground palm-down and, using the fingers like a spider, starts scuttling over towards D. When it gets close to his arm, it rolls over so that it's facing palm-up, and wiggles into place onto D's arm.

LEFT HAND

Almost there. And...Voila. Back home where I belong. Now, to deal with that stake.

ANOTHER ANGLE.

D's arm arcs up towards his chest. The fingers wrap around the stake and start pulling, but the stake doesn't budge.

LEFT HAND

Okay, fuck this.

It grabs the stake in its mouth and pulls the stake out. As soon as the stake's out, the hand spits it off to the side.

LEFT HAND

Wood. Yuck.

D's wound closes up.

LEFT HAND

Okay, now for step three.

The hand digs into the ground and pulls up a handful of dirt. There's the sound of something chewing as the dirt is pulled into the face's mouth. Another handful follows.

LEFT HAND

(burps)

It opens its mouth and sucks in some air.

LEFT HAND

Too bad there's no fire or water around; that would certainly speed things along a bit.

Something moves off in the distance.

LEFT HAND

Huh?

ANOTHER ANGLE.

That something appears to be made out of nothing but red mist. It's on its way to the nearby barn. The mist monster seeps into the barn through the cracks in the wood.

Though we can't see what's going on inside, the sounds are enough to clue us in - the mist monster is attacking and eating the cows.

LEFT HAND

Uh oh. Gotta work fast.

The hand closes into a fist and starts beating on D's chest in some half-assed form of CPR.

The mist monster bursts out of the barn; the half-eaten remains of a cow are still inside it.

LEFT HAND

Shit! Wake up, D, wake the fuck up!

The mist monster starts flying towards D.

LEFT HAND

OH SHIT!

D's eyes snap open. In one swift motion, he stands up, takes out his sword, and slices the mist monster in half. The chunks of cow meat fall out as the mist monster evaporates.

LEFT HAND

Jesus, man, you sure have a way of keeping a guy in suspense.

D

Where are they?

LEFT HAND

Probably at the asylum.

Cut to:

INT. - ASYLUM - CELL BLOCK. NIGHT.

Every cell in this place is empty - every cell except for one, which is currently occupied with Dan and Doris. They're both banging on the door to the cell as hard as they can. Doris even tries ramming her shoulder into the door, but it doesn't budge.

DAN

Let us out!

DORIS

If not, you'll be sorry!

The warden bangs on the door.

WARDEN

Shut up!

DORIS

I swear to God, once I become one of the Nobility, you'll be the first one I'm drinking dry.

WARDEN

Yeah, yeah.

ANOTHER ANGLE.

He leaves the cell block and goes into the reception area. He sits at his desk and props his feet up on it before starting to doze off.

There's a knock on the door, snapping him back awake.

WARDEN

Oh God, what now?

He walks over to the door and slides open the viewing hole. Greco's on the other side.

WARDEN

What do you want?

GRECO

I'm here to see Doris. Just open the door, would ya?

WARDEN

Forget it. Mayor's orders. Even YOU can't come in here.

GRECO

Don't be a jerk. Can't I at least see the girl of my dreams? Hey, just between us, they're gonna take her up to Mr. Fang Face's place come sunrise, so tonight's my last chance to see her.

He holds up a wad of money.

GRECO

Besides, you'll be compensated.

The warden takes the money and opens the door. Greco steps inside, and the Warden leads him over to the cell block.

WARDEN

You've got three minutes.

GRECO

Five.

WARDEN

Four.

GRECO

Ouch, you drive a hard bargain.

The warden opens the door to the cell block and leads Greco inside. He leads him over to the cell and puts a key in the lock. Before he can turn the key -

GRECO

One more thing, Warden.

WARDEN

Yeah, what?

Greco reaches around him and stabs him in the throat with a knife, killing him instantly. The warden falls to the ground, and Greco pushes his body away with his foot.

GRECO

That.

He unlocks the door and opens it.

DORIS

Greco, what are you doing?

GRECO

Saving you. Again.

DAN

But, you - You killed the warden!

GRECO

And my old man. But that's not important.

DORIS

Not important? You're a murderer!

GRECO

Look, we've gotta get out of town tonight. You and me, Doris. And we can even bring your tike of a brother along if you want.

DORIS

Forget it. I'd rather go with the Count.

GRECO

What?

DORIS

You teamed up with that butcher. You killed HIM, of all people. I don't care what happens to me, I'm gonna personally see to it that you burn in hell for everything you've done.

Greco lowers his face, almost in sorrow.

GRECO

That's how it's gonna be, then? You'd prefer the Nobility over me? Suit yourself.

He takes his pistol out of its holster and aims it at Dan and Doris. Doris pulls Dan close to her for protection.

DORIS

Greco, what do you think you're doing? Are you out of your mind?

GRECO

Sorry, honey, but I'm not gonna let another man have you.

He gets ready to pull the trigger, but someone grabs his hand, stopping him.

ANOTHER ANGLE.

It's Larmica, standing right behind him and looking PISSED OFF.

LARMICA

Better you had killed me when you had the chance.

She digs her fangs into Greco's throat and drinks him dry. As Greco's body shrivels up from being drained of blood, Larmica tosses him aside. She wipes some blood from her mouth before turning to Dan and Doris.

DORIS

What do you want?

LARMICA

Go.

Both Dan and Doris are confused.

DORIS

(confused)

Excuse me?

LARMICA

I am letting you both go free. Make haste before my father comes, because once he does, I won't be able to help you.

DAN

You're serious, aren't you?

DORIS

Why are you doing this? Why are you helping us?

Larmica doesn't answer for a moment. She turns away.

LARMICA

He died, but he died in an attempt to keep you both safe. It would sadden him to see you become Father's bride. And I have no desire to cause the dead more sorrow. Now go. Make haste while you still can.

Dan and Doris walk out of the cell, but they don't get far - they spot someone standing at the door leading out of the cell block.

It's COUNT LEE!

LARMICA

Father!

Cut to:

EXT. - WASTELAND. NIGHT.

D's riding his horse as fast as he can through the wasteland. The horse leaps over the rusted skeleton of a car and keeps galloping.

Cut to:

EXT. - WOODS. NIGHT.

Dan's running as fast as he can through the woods; besides the fact that he's running around trees, it's hard for him to see since it's so dark.

ANOTHER ANGLE.

Garou - in his werewolf form - is chasing him, and having a much easier time running than Dan is.

Dan runs down a hill and hides behind a tree. Garou follows him, but stops - it's like he's lost the trail. He starts sniffing around. The more he sniffs, the closer he gets to Dan's hiding place.

Dan picks up a stick and tosses it around the side of the tree. The stick gets Garou's attention and he goes over to investigate, allowing Dan to start running again.

This doesn't go unnoticed by Garou; with a howl, he starts chasing Dan again.

Dan falls; it's not because he tripped - something grabbed his ankle. It's a flower, but the flower looks like a human hand. Dan tries to get free, even as Garou continues to approach.

Garou is about to deliver the killing blow when he spots something ahead of him, past Dan. He leaps over Dan and starts charging for the woodline. Dan watches -

As Garou charges straight for D!

DAN

D, look out!

ANOTHER ANGLE.

D climbs off of his horse to meet Garou head on. As Garou gets closer, D takes out his sword. He steps to the side and slashes at Garou, slicing off his arm. Another swipe of his sword slices off Garou's head.

Back on: Dan.

He finally manages to get free of the flower holding onto his ankle and runs over to D. He throws his arms around D.

DAN

I knew you weren't dead, D, I just knew you werent!

D

Where's your sister?

DAN

The Count has her. We've gotta save her!

D

And we will.

He picks Dan up and sets him on the back of the horse.

DAN

You're not sending me home, are you?

D

No. We're going to save your sister. Together.

He climbs up onto the horse and spurs it forward.

Cut to:

INT. - CASTLE - UNDERGROUND CHAMBER. NIGHT.

The Count, Doris, and Larmica are down here. The only source of light is from the torches set into the wall. Doris is now dressed in a white wedding gown of sorts. Larmica is standing off the the side; she still looks angry - her face is twisted into an angry scowl and her arms are crossed. The Count is standing with Doris, facing a set of oak coffins set into the ground. The coffins are filled with dirt. The lids to the coffins are set against the nearby wall; inscribed in one of the lids is the name "Lee", and the other one is inscribed with "Doris".

LEE

Here is where you shall make your bed from this night forth. They contain dirt, the same proud soil upon which the Lee castle is built. It shall give you dreams of sweet blood each night. Now, to business.

He takes something out of his cape - it looks like a ring.

LEE

We must rid you of that damned charm.

He presses the ring against Doris's neck - the same side with the puncture marks. The marking of a cross shines on the wounds, and after a few seconds, it fades away.

LEE

Now I have nothing to fear when I give you the final kiss.

He turns to Larmica.

LEE

It is customary for you to recite some words of congratulations for your new mother and I.

LARMICA

I...

(sighs)

I, Larmica Lee, your three thousand seven hundred twenty-seven year old daughter, congratulate my three thousand seven hundred fifty-seven year old father Count Magnus Lee, and my seventeen year old mother Doris Lang on the ocassion of their marriage.

LEE

That will do.

He turns back to Doris.

LEE

And now, the groom shall kiss the bride.

An alarm starts going off.

LEE

(annoyed groan)

Interruptions, always interruptions. What is it now?

LARMICA

I smell the girl's younger brother. And the dhampir.

LEE

What? How?! How could he come back after having a stake through the heart?

He clenches his fist in anger.

LEE

I must put the ceremony on hold until he is dead. Again.

Cut to:

INT. - CASTLE - CORRIDOR. NIGHT.

D and Dan are walking down the corridor. Standing just ahead of them is Rei-Ginsei. D and Dan stop walking.

REI-GINSEI

How is it that you're still alive, half-breed?

D

Dan, stay back.

DAN

Okay.

Dan takes a few steps back.

REI-GINSEI

You don't have to worry about any Time-Bewitching Insence - I don't have any. Not like it matters, of course.

He takes one of his shrike-blades off of his belt.

REI-GINSEI

Tell me, can you come back from the dead twice in one night?

D

Time to find out.

D takes out his sword.

ANOTHER ANGLE.

Rei-Ginsei makes the first move, throwing his shrike-blade at D. D deflects the blade and lunges for Rei-Ginsei. He raises his sword, getting ready to slice off Rei-Ginsei's head.

REI-GINSEI

You forget what happened last time?

D

No.

At the last second, he takes his sword and stabs himself in the stomach. But the blade comes out of Rei-Ginsei's back.

D takes his sword out of his stomach - which also means that it leaves Rei-Ginsei's body. Rei-Ginsei falls to his knees, then collapses to the floor.

ANOTHER ANGLE.

Dan runs over to him.

DAN

Hey, don't die yet. Where's my sister?

REI-GINSEI

(weakly)

You're...too late. She's probably...already...the Count's bride.

He coughs up some blood.

REI-GINSEI

(weakly)

If only I were one of them...

He dies before he can finish his sentence.

DAN

Too bad. He could have had a good life if he weren't such a bad guy.

D

Yes, he would have.

The wound in his stomach starts to heal.

DAN

So, where do you think they've got my sister? This place is so big; where should we start looking?

D

Have you forgotten that I'm a Vampire Hunter? Follow me.

He starts leading Dan down the corridor.

ANOTHER ANGLE.

They come to a set of stairs heading down. They start going down the stairs, and after a moment, come to a large wooden door.

DAN

Is this it?

D

Yes.

He takes off his pendant and hands it to Dan.

DAN

D?

D

Keep it. It will protect you. Now, wait here.

He pushes the door open. It slams shut as he walks into the chamber.

ANOTHER ANGLE.

D passes by a number of coffins; some of them are nailed shut, some are open, and a few have skeletal hands sticking out of them.

He keeps walking, before coming across Count Lee.

LEE

Tell me, dhampir, how is it that you are still alive even after you have been staked through the heart? Not even the Sacred Ancestor knew such a trick.

D doesn't respond. He turns his attention to Doris, who's standing a few yards behind Count Lee; Larmica's nowhere to be seen.

D

It seems I arrived just in time.

LEE

Time is all you shall have when you are dead. Unless, of course, you are willing to reconsider. Or have you no wish to take Larmica as your bride?

D

No. The Nobility died out long ago. Your kind are no more than phantoms of the past. And I am here to send you back to where you belong.

LEE

Petulent child, be silent! You are born of Noble blood, are you not? Then surely you know the meaning of immortality. The gift of life, until the heavens fall from the sky. It is our duty to crush the human worms underfoot.

D turns his gaze to the portrait behind Count Lee. Count Lee turns to the portrait - which is a painting of a regal-looking man.

LEE

Wait...

He glances back and forth from D to the portrait. D bears an uncanny resemblance to the man in the painting.

LEE

(whispering)

Transient guests...The words of the Sacred Ancestor...The Sacred Ancestor swore to a human maid - that they would make children, and he would slay them. And then, he would have her bear more. But could it be that the Sacred Ancestor planned to merge human and Noble blood after all?

He shakes his head and turns back to D.

LEE

Dhampir, mudblood, shame on our race, you shall feel the full might of the Nobility before you die!

He spreads his cape; the edges turn sharp, like blades. With a wave of his arm, the cape swipes towards D.

ANOTHER ANGLE.

D quickly takes out his sword and deflects Count Lee's attack. He deflects another attack, then lunges for the count.

The edges of Count Lee's cape twists around D's sword and yanks it out of his hands.

LEE

And now you are unarmed.

D takes several silver stakes off of his belt and throws them at Count Lee. Count Lee deflects them with the hem of his cape, then swings D's sword at him. D grabs the sword in his left hand.

LEFT HAND

Ouch!

LEE

Tell me, boy - how many of our kind have fallen by this blade? How much Noble blood have you spilled in your quest to defend the humans?

D

Enough.

With his free hand, he PUNCHES Lee in the face. Lee staggers back.

D takes another stake off his belt and gets ready to throw it, but Doris stops him; she grabs his wrist and pulls it back behind his back.

D

Doris?

LEE

Whatever is the problem, my dear dhampir Hunter? Powerless to strike a woman?

He raises D's sword.

LEE

And now, you shall be cut down by your own blade.

He gets ready to run D through. D manages to throw Doris off of him and catches the sword between his two hands, just barely an inch from his heart.

LEE

(shocked)

That's the very same trick -

He tries to pull the sword away, but D's got a strong grip on it. With a twist of his wrists, he breaks the tip of the sword off and THROWS it at Count Lee. The blade sticks Lee right in the heart.

Lee's skin begins to melt away, revealing the muscles and skeleton beneath.

LEE

I - I begged the Sacred Ancestor to teach me that...

His entire body melts away completely.

OVER TO: DORIS.

She seems to break out of the trance. She shakes her head and puts a hand on her neck - the puncture marks are gone.

DORIS

What - what happened?

Then she spots D. She runs over to him and throws her arms around him.

DORIS

D! You're alive, thank God!

The entire room starts to shake; dust falls from the roof, followed by some small stones. After a moment, larger stones start to fall from the cieling.

D

My work is done. And now the castle will crumble to dust. You need to hurry up and escape. You'll find Dan right outside.

DORIS

But - but, D, you've gotta come with us!

D

I still have business here. Now go. And tell Dan not to forget the promise he made me.

DORIS

I - I will.

She lightly hugs him.

DORIS

Goodbye, D.

She hurries away.

LEFT HAND

Okay, I'll break. I'm gonna miss those kids.

ANOTHER ANGLE.

D turns to face the other side of the chamber. Larmica's standing there.

D

This is your doing, is it not?

LARMICA

Yes. Within a few moments, the castle will be dust. Hurry and go with the humans.

D

You have no desire to live in this castle until the end of time?

LARMICA

The time of the Nobility has already run out. As you have said, vampires have had their day. And besides, the Lee family died out long ago - when my father chose a pointless, eternal life of drinking human blood.

The destruction of the castle becomes more intense.

D

Then you'll stay?

LARMICA

Please, tell me one thing. Your name, D...Would that happen to be short for Dracula?

D doesn't reply, and the castle finally crumbles around them.

Cut to:

EXT. - WASTELAND - RUINS. MORNING.

Dan and Doris watch as the castle falls down, turning into a cloud of dust and debris.

Doris falls to her knees and buries her face in her hands.

DORIS

It's gone. D's gone. Everything's gone.

Dan puts a hand on Doris's shoulder.

DAN

Come on, Sis. Let's go home. There's still a lot of work to do.

DORIS

I can't do it. I just can't do it anymore - I can't fight, I can't take care of you, I can't do my work on the farm - because I finally found someone to lean on.

Dan puts a hand on the pendant D gave him.

DAN

Leave it to me, Doris. We've just gotta hold on for a few more years. Then I'll be able to do everything - even find you a husband. We've got a long, hard road ahead of us, so we need to be strong. It's what D would have wanted.

Doris wipes her eyes and stands up.

DORIS

You're right. Let's go home, Dan.

DAN

Sure thing. And remember, we have to be strong.

DORIS

Be strong. Just like Vampire Hunter D.

As they start to walk away, we:

Fade out.

Roll credits.

**BUT:**

**POST-CREDIT SCENE -**

A horse is walking down a ruined road. And riding the horse is D.

**THE END**

**VAMPIRE HUNTER D**

**ORIGINAL STORY BY: Hideyuki Kikuchi**

**SCREENPLAY BY: Kenny Rutter**

**DIRECTOR: Joss Whedon**

**MUSIC BY: Hans Zimmer**

**CAST:**

**D: Keanu Reaves**

**Doris Lang: Abigail Breslin**

**Dan Lang: TBA**

**Greco Rohman: TBA**

**Mayor Rohman: TBA**

**Sheriff Dalton: TBA**

**Dr. Ferringo: Johnny Depp**

**Farmer Morris: TBA**

**Lucy Morris: TBA**

**Fu Lanchu: TBA**

**Machen: TBA**

**Rei-Ginsei: Tom Hiddleston**

**Golem: Chris Hemsworth**

**Chullah: TBA**

**Gimlet: TBA**

**Witch: Helena Bonham Carter**

**Frontier Defense Force Officer #1: TBA**

**Frontier Defense Force Officer #2: TBA**

**Frontier Defense Force Officer #3: TBA**

**Mark: TBA**

**O'Reilly: TBA**

**Nurse: TBA**

**Left Hand: John DiMaggio**

**Center Medusa: TBA**

**Left Medusa: TBA**

**Right Medusa: TBA**

**Count Magnus Lee: Hugo Weaving**

**Larmica Lee: Scalett Johansen**

**Warden: TBA**

**Garou: TBA**

**SOUNDTRACK:**

**"Nymphetamine" by Cradle of Filth**

**"The Animal" by Disturbed**

**"VAMPIRE HUNTER D" is rated "R" for intense and gory sequences of fantasy violence, some nudity, disturbing images, and strong language throughout.**


End file.
